Metal Chick of the Month – The Harp Twins

Can you feel the wind of the north, my dear Camille and Kennerly?

How about we celebrate insane six years of The Headbanging Moose with two very talented women who have the unique ability of transforming the heaviest and most intense metal classics into serene and touching ballads only armed with their ethereal harps? I’m talking about Camille and Kennerly Kitt, known worldwide as The Harp Twins, who have achieved an unprecedented success not only among metal fans but in countless other music genres and entertainment segments, leading them to tour across several countries in North and America, Europe and anywhere else where their whimsical sounds are truly appreciated. And no, you’re not seeing double, as The Harp Twins are indeed identical twins, providing your avid ears double the pleasure with their refined skills by mixing all types of rock, metal and soundtrack arrangements with the gentle sounds flowing form their harps. Not only that, Camille and Kennerly are also accomplished actresses, showing there’s no actual limit for this talented American duo.

Born in the city of Chicago, Illinois, United States in 1989, with their heritage being mostly Norwegian mixed with Swedish, Finnish, English, Scottish, French, German and a little Cherokee Indian, Camille and Kennerly began playing the piano when they were children, followed by the harp when they went to junior high school. The duo was drawn by the beauty of the harp, saying it seemed like a magical instrument to them. By the way, their first harps (small, pre-owned lever harps) were bought with money they got from jobs such as babysitting and dog-walking, in order to show their mother they were really serious about playing the instrument. Classically trained in piano and also capable of playing a little percussion, the two blonde harpists also love to sing, which can be seen in some of their own original compositions and cover songs, although of course their main focus is and will always be their mesmerizing harps.

Having already played their electric harps, acoustic and electro-acoustic concert grand harps in several concert series, festivals, fairs and conventions in front of the most diverse crowds, even playing for US presidents, tech geniuses and global leaders, Camille and Kennerly have released over 100 singles online since the beginning of their career, as well as some very interesting cover albums, developing a huge cult of followers worldwide through their social media and becoming undoubtedly the most famous harp duo in the world. All that success is not in vain, of course, as both sisters hold a Bachelor of Music degree in Harp Performance and graduated with highest honors (“Summa Cum Laude”) at Wheaton College Conservatory of Music, located in Wheaton, Illinois, not to mention their previous years in a music studies program at a local college where they were in the Honors Scholar Program and represented the college at several collegiate summits.

Despite being formally trained in classical music and having the aforementioned degrees, their true obsession in music has always been taking the harp to new heights and exploring new grounds, nurturing a deep passion for arranging and performing rock, metal and soundtrack music as a harp duet, as well as their Nordic-inspired original songs thanks to their Scandinavian origin, always without any backtracks, studio productions or record labels involved, beautifully representing what it truly means to be an independent artist. And after listening to their duet arrangements of contemporary songs from artists including Iron Maiden, The Rolling Stones, Metallica, AC/DC, Pink Floyd, Bon Jovi, Aerosmith, Guns N’ Roses, Enya and Journey, among many, many others, you’ll be able to fully understand why they have chosen to follow such distinguished path, embellishing the airwaves with their gentle, melodic and classy harp fingering.

As already mentioned, The Harp Twins, who by the way perform on Venus “Classic” Concert Grand pedal harps and Lyon & Healy “Silhouette” Electric lever harps, have several albums released (also in physical format) apart from their hundreds of online singles and videos, with their YouTube videos totaling over 106 million views with over 600,000 subscribers as of September 2019. For instance, their cover of Led Zeppelin’s Stairway to Heaven alone garnered over three million YouTube hits as of September 2019, while their version of Iron Maiden’s Fear of the Dark received over 11 million views as of September 2019. Their six self-produced albums are Harp Attack (2013), Harp Attack 2 (2015), Harp Attack 3 (2018), Harp Fantasy (2013), Harp Fantasty 2 (2016), and Winter Lights (2017); while the Harp Attack series are dedicated to covers of Rock N’ Roll, Hard Rock and Heavy Metal songs and the Harp Fantasy series focus on covers of video game, anime, film and television soundtracks such as Game of Thrones, The Walking Dead, Pirates of the Caribbean, Final Fantasy, Star Trek, Star Wars, Vikings, Silent Hill and The Lord of the Rings, just to name a few, Winter Lights was their first-ever holiday album, including two new original songs and ten new arrangements of holiday classics from years gone by. Furthermore, their music has also been featured in countless media like National Geographic, The Huffington Post, ABC News, Conan O’Brien’s TeamCoco, AMCtv.com, Guitar World, Revolver, and many more, having also been praised by different music icons like Megadeth, Billy Idol, Kansas and Within Temptation, who shared the twins’ music on their official social media.

As a metalhead, I’m pretty sure you’re eager to listen to Camille and Kennerly playing some of your favorite metal classics of all time, right? Well, all you have to do is subscribe to their YouTube channel, sit down and enjoy their harp versions for, but not limited to, Rush’s Closer to the Heart, Black Sabbath’s Paranoid, Dio’s Rainbow in the Dark, Metallica’s Fade to Black, Iron Maiden’s Run to the Hills, and Megadeth’s A Tout le Monde. Go visit their official YouTube channel, or buy their music from CD Baby or from Apple Music, relax and enjoy these and countless other classic like Send Me an Angel, Smoke on the Water, Sweet Child O’ Mine, Hotel California, Don’t Stop Believin’, Every Breath You Take, and so on.

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Camille and Kennerly always say they switch off playing melody and accompaniment, even within the same piece, and also that apart from all cover songs they do either by request or by their own choice, they have also been composing original music for their harps for years, which can be seen in songs like North and the music theme for their own animated logo. In addition, you can also find Camille and Kennerly as guest harpists in the intro Time to Set You Free,  from the album The Second Big Bang, released in 2017 by Brazilian Melodic Power Metal project Soulspell. And regarding her main influences and idols in music, the twins mentioned in one of their interviews that their earliest musical influences were rock and classic rock because that’s what their mother used to listen to, including bands like The Rolling Stones, Aerosmith, Led Zeppelin, Billy Idol, Van Halen, ZZ Top and Johnny Cash, later expanding their range due to their classical training to most artists and bands who think outside the box and follow their own path.

Although their main focus is obviously on their harp career, the duo is also famous for their acting and modeling skills, being members of the Screen Actors Guild (SAG) and AFTRA and having already acted in theater, film and television. For instance, in the season 6 finale of The Walking Dead, they played a walker nicknamed “Ouch That’s My Hair”, who was fought and killed by the character Carol, and had roles as “The Marcelli Twins” in the dark teen comedy Blacktino (as you can see in the official trailer by clicking HERE), from 2011, as well as appearances in many other movies like Delivery Man (2013), Elephant Medicine (2010) and The End of Lost Beginnings (2009), and in several commercial such as a national Japanese commercials for Chupa Chups lollypops. Still talking about their film career, Camille and Kennerly always like to mention that they do all their videos by themselves, arranging the music, finding the filming location, making their own costumes, filming everything with a small hand-held video camera on a tripod, recording the sound in their own living room and editing the video themselves. Needless to say, there’s no such thing as playbacks or any other “magic tricks” in their videos, as what you hear is exactly how it’s being played by our multi-talented twins. Also, when asked about their life on the road, Camille and Kennerly said in several interviews they have lots of memorable moments to share, like when they represented the United States at the World Harp Festival in Paraguay, where they had extensive support from the American embassy resulting in a full concert the day after the event to a sold out theater, and all of their performances at several Walker Stalker Cons, playing right before panels with Norman Reedus, Andrew Lincoln, Chandler Riggs and Greg Nicotero. It’s impossible to list all events they have participated so far in their career, featuring in all types of public, private, philanthropic, academic, corporate, cultural and political events, proving once again how talented and professional they are.

Of course, there’s no Camille and Kennerly without their harps and vice-versa, and that’s why it’s important and truly interesting to know more about the girls’ ethereal weapons. Their acoustic concert grand harps are 6’3” (or 1.9 m) and weigh 90 lbs (or 40.8 kg), while their electric harps are 4’ (or 1.22 m) and weigh 16 lbs (or 7.25 kg); regarding the number of strings, their acoustic concert grand harps have 47 strings (which can have three different pitches, those being flat, natural and sharp), their electric lever harps have 33 strings (which can have two different pitches, either flat/natural or natural/sharp), and their Harpsicle Harps have 26 strings. In addition, although it’s possible for the twins to use distortion on their electric harps, they don’t actually do that due to the difficulty to use distortion while still continuing the melody and accompaniment; however, you can enjoy Camille and Kennerly blasting distorted harp sounds on their cover version for Billy Idol’s White Wedding (by the way, Billy Idol himself even said that “if you live long enough you get to see this version of White Wedding”), and a slight effect in their Doctor Who Theme and The Smith’s Asleep covers. When asked about how they manage to carry their harps everywhere and how they handle their weight while playing, they said they put a strap on their backs to do that, but that they also bruise their hips from the straps if they wear the harps for too long. They love the freedom of movement, though, helping them to properly perform rock songs with their electric harps. Some people like to ask them why they don’t move even more while playing, and they said it’s tougher to reach a necessary balance with the harps than with a guitar or violin, for example.

Aside from being impressive harpists, Camille and Kennerly also have a variety of other interests and hobbies in their lives, keeping them absolutely busy pretty much all of the time. For instance, the twins are third degree black belts in Tae Kwon Do and former Tae Kwon Do instructors, which by the way caused two broken fingers to Kennerly while sparring one day, and stitches to Camille’s face as a result of puncture wound sustained while holding a board that Kennerly was breaking. In the end, those incidents made them decide to stop practicing martial arts and focus on their career as harpists. Our beloved blonde musicians were also competitive swimmers as kids (having both qualified for the Junior Olympics five times), are experts in rifle marksmanship, and are trained in horseback riding, not to mention their passion for other activities and hobbies such as hiking, working out, watching TV shows like The Walking Dead and Vikings, reading, writing, and so on. Moreover, the Kitt Twins are also actively involved in their community, supporting education and health initiatives for unprivileged children overseas, and volunteering for many years at a monthly deaf/hard-of-hearing social gathering (and yes, they know sign language), among other endeavors, as they strongly believe in the importance of giving back. The girls also sponsor a few kids in Ethiopia, helping to provide them school, food, clothing and medical care, always hoping more and more people will follow their steps to make the world a better place.

Last but not least, Camille and Kennerly’s connection as twins is beautifully externalized in the way they always look at each other while they’re playing, and in their twin costumes (which as mentioned are always put together by the twins themselves by mixing and matching things they already have at home), unless of course they need to dress differently for a commercial, film or media project. Having said that, if you want to have double the fun with the classy and mesmerizing music by Camille and Kennerly, or if you are an event organizer who’s searching for a truly unique attraction to captivate the attention of your guests on your next big event, you can get in touch with The Harp Twins by sending an email to HarpTwins@HarpTwins.com, and don’t forget to keep an eye on their Events Page on Facebook for all of their public performances, concerts and other events. And if you want to show your support to their distinguished work with their harps, as aforementioned you can purchase their music from Apple Music and from CD Baby, or simply visit their official website for all music, news, tour dates and other nice-to-know information about the unstoppable twins who give a beyond welcome touch of delicacy to our good old rock and metal music.

Camille and Kennerly’s Official Facebook page
Camille and Kennerly’s Official Instagram
Camille and Kennerly’s Official Twitter
Camille and Kennerly’s Official YouTube channel

“When someone tells us that our music has helped them through an illness, or inspired their child to learn an instrument, or even just given them some peace after a trying day, that means the world to us. As musicians, it’s the greatest feeling to know that our music has touched someone else in some way.” – Camille and Kennerly Kitt

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Album Review – SiXforNinE / Parallel Universe (2019)

An amazing album of rock and metal music containing nine high-energy compositions overflowing groove and adrenaline, carefully brought forth by four talented musicians hailing from Greece.

It’s time to bang our heads to the groovy and melodic Alternative Metal blasted by SiXforNinE, a four-piece band formed in 2011 in the always fun city of Athens, Greece, who are releasing now in 2019 a brand new and extremely entertaining opus entitled Parallel Universe, a follow-up to their 2015 debut self-titled album being highly recommended for fans of the music by bands like Disturbed and Breaking Benjamin. Comprised of founding members Georga Kapa on the guitar, Herc Booze on bass and Pete Outfox on drums, as well as Fotis Benardo (Necromantia, Septicflesh) on vocals, SiXforNinE have been on a roll since their inception, having already shared the stage with renowned acts such as Monster Magnet, Fates Warning, Leprous, and Memory Garden, and with Parallel Universe representing an evolutionary step in their relatively short but already solid career.

Recorded at DevasoundZ Studios in Athens, produced by Fotis Benardo himself, mixed by Paul Pavao (Disturbed, Stone Temple Pilots, Breaking Benjamin), mastered by Tom Baker (Rob Zombie, Nine Inch Nails, Mötley Crüe), and featuring a stunning artwork by Vagelis Petikas (Revolver Design), Parallel Universe showcases a very special chemistry between all four band members in each of its nine high-energy rock anthems, dealing with distinct topics such as a galactic travel via astral projection and the story of a refugee hoping for a better future. In other words, you better get ready to rock with SiXforNinE, as the Rock N’ Roll party crafted by those four talented Greek metallers doesn’t seem to have a time to end based on the amount of adrenaline flowing from their new album.

The band begins their feast of mesmerizing and groovy sounds in Every Cloud Has a Silver Lining, a lecture in progressiveness by the quartet where Fotis and his Miles Kennedy-inspired vocals walk hand in hand with George’s crisp riffs, not to mention Herc’s rumbling bass lines, followed by the heavier and more progressive Life Devouring Demons, reminding me of some of the incendiary creations by Mastodon. Furthermore, Pete brings endless intricacy with his beats in an awesome fusion of Alternative Rock and Metal with the heaviness of Progressive Metal, while Herc is on absolute fire with his metallic bass. And as heavy as high-end Alternative Metal can be, the band explodes our ears with the melodic and vibrant Bullet Off Its Course, a song that could easily be played in any radio station with Fotis once again stealing the spotlight with his passionate vocals.

Then inspired by the music by Alter Bridge, Breaking Benjamin and other big names of the alternative scene, George slashes his strings beautifully while Pete’s beats bring groove and thunder to the music in Never Ending Road, whereas in More Than Words Can Say the band blends the heaviest elements from Progressive Metal with smoother rockin’ nuances, displaying a powerful job done by George on the guitar as well as Fotis on vocals, overflowing rage and anguish from start to finish. And it’s time to slow things down a bit and enjoy a pensive and whimsical musical journey by SiXforNinE in Counting Stars (a Parallel Universe), where George, Herc and Pete generate an enfolding ambience with their respective instruments, resulting in almost 10 minutes of ethereal passages and piercing sounds. Not only that, George’s guitar solo is a thing of beauty, adding an extra touch of finesse to a fantastic song that flows flawlessly into a catchy ending.

Very intricate and full of breaks and variations, Out of the Blue offers the listener the thunderous sound of the bass lines by Herc nicely complementing Pete’s wicked beats, being at the same time violent and very harmonious and with Fotis’ roars bringing even more stamina to the song’s already gripping vibe. In Sea of Lies we’re able to witness pure Rock N’ Roll flowing through the band’s instruments, sounding tailored for being played at top volume at a rock pub while everyone is enjoying a cold and tasty beer; moreover, George and Pete couldn’t sound more electrifying with their riffs and beats, also presenting the progressiveness that makes their music so compelling. And lastly, the angry bass by Herc ignites the closing tune Meditation Hyperjam, a sonic extravaganza of badass sounds and tones led by George’s heavy riffs while Fotis fires his potent vocals, putting a truly exciting ending to the album.

If you love rock and metal music with high dosages of complexity, groove and electricity, then Parallel Universe, which you can hear in full on YouTube and on Spotify, is the perfect solution to satisfy your craving. Hence, go check what SiXforNinE are up to on Facebook, including their tour dates, and grab your copy of the album from their own webstore, as well as from Apple Music or from Amazon. Fotis, George, Herc and Pete did one hell of a job in Parallel Universe, and there’s nothing better to show them our support and appreciation than by rocking like there’s no tomorrow together with this hardworking and amazing band coming from Hellenic lands.

Best moments of the album: Life Devouring Demons, Counting Stars (a Parallel Universe) and Sea of Lies.

Worst moments of the album: Never Ending Road.

Released in 2019 Eclipse Records

Track listing
1. Every Cloud Has a Silver Lining 6:12
2. Life Devouring Demons 5:52
3. Bullet Off Its Course 5:00
4. Never Ending Road 4:53
5. More Than Words Can Say 5:02
6. Counting Stars (a Parallel Universe) 9:16
7. Out of the Blue 5:58
8. Sea of Lies 4:10
9. Meditation Hyperjam 5:12

Band members
Fotis Benardo – vocals
George Kapa – guitars
Herc Booze – bass
Pete Outfox – drums

Album Review – Aphrodite / Lust and War (2019)

Bang your head to this uncompromising DIY tribute to the Greek gods, recommended for fans of that 80’s Speed Metal sound sparkled with heavy and punk influences.

Founded in the second half of 2018 in Ottawa, Canada’s capital located in the east of southern Ontario, Speed Metal power trio Aphrodite is the result of a collective effort between the creative minds of Canada’s own multi-instrumentalist Jo Steel (Ice War) and guitarist Yan Turbo (Colorsfade), and Chilean unrelenting vocalist Tanza Speed, a true metal nomad known for bands like Outline and Demona. Now in 2019, with the help from Heidi Stockdale, who developed the lyrical concept revolving around Greek Mythology, Aphrodite are unleashing upon us their debut full-length album entitled Lust and War, a DIY production recommended for fans of that 80’s Speed Metal sound sparkled with heavy and punk influences in the vein of Acid, Znöwhite, Agent Steel, S.D.I. and Vectom, among many others.

Jo and Yan’s frantic riffs and beats ignite the opening track Hades in the Night, before Tanza comes ripping with her old school-Japanese-inspired-punk-thrashing vocals, resulting in a fun, straightforward song perfect for enjoying a beer inside the pit, whereas in Pandora’s Box Unleashed the guitar duo keeps slashing their strings mercilessly, firing razor-edged riffs and solos inspired by classic Thrash Metal and Punk Rock, as well as rumbling, metallic bass punches. In other words, I can easily visualize them playing this at an underground, obscure rock pub. Then in Ares, God of War wicked guitars and frantic beats dictate the rhythm while its simple but effective lyrics tell the story of the one and only god of war (“Feeder of thieves / Master enslaver / World on its knees / Ransack the land, scepter in hand / Lord of greed, madness of man / Loathsome war leader / Lord of greed, madness of man / Loathsome war leader”), feeling like a North American version of the crushing music by Japanese masters Abigail but obviously with a more complex theme.

Aphrodite keep blasting their raw, dirty Speed Metal in Lightning Crashed, where Tanza seems slightly “inebriate” on vocals (or maybe that was the original plan, who knows) while Jo does a great job on drums once again, not to mention Yan’s piercing guitar solos. Slowing down their madness a bit, the trio offers the Megadeth-inspired tune Pentheselia, with Tanza delivering less strident and more tuneful vocals, and yet again presenting gripping guitar riffs and solos; followed by Gorgon Medusa, which sounds like a copy of one of the previous songs from the album, albeit not as thrilling neither as fast, but still bringing a good dosage of crudeness and rebelliousness to our ears. And Aphrodite, Queen of Lust, the song that carries the band’s name, is another punk-infused thrashing composition where the sharp sound of the guitars builds an interesting paradox with the song’s low-tuned bass lines.

Getting back to a more rockin’ sonority the trio offers us Orpheus Charms the Gods of Death, spiced up by another blast of interesting but never too complex lyrics (“Thracian Orpheus, blessed by the gods / None can resist enchanting song / His melody sways the mountains and trees / Melting the heart of the beast”), and let’s keep slamming into the pit with Thesus and the Minotaur, with the rhythmic beats and thunderous bass punches by Jo generating a dense background for Yan’s crisp solos. Their Rock N’ Roll party goes on in The Odyssey, where Tanza continues to fire her raspy, feminine vocals while Yan and Jo are ruthless with their cutting riffs and beats, before Gladiators (Gladiators), and I must say I have absolutely no idea why the song is called “Gladiators” twice nor if this is a cover song for a very old band called Gladiators, closes the album on an accelerated manner, with Tanza’s vocals walking hand in hand with the song’s main riff as if they were one.

Lust and War might not be a Speed Metal masterpiece (as a matter of fact, it’s not even close to that), but taking into account all the effort and limitations Jo, Yan and Tanza had during the production stages of the album we have to admit that in the end they did a pretty good job. Hence, don’t forget to show our support to Aphrodite by following them on Facebook, by listening to Lust and War in full on YouTube and on Spotify, and of course by purchasing the album from the band’s own BandCamp page, from the Fighter Records’ BandCamp page, from the  Xtreem Music webstore in CD or LP format, from Apple Music or from Amazon. As this is a DYI album, utterly uncompromising and free of any type of pressure, of course there are many flaws to be fixed and adjustments to be made, but after all is said and done I’m sure you’ll have a very good time listening to this 80’s Speed and Heavy Metal-inspired tribute to the Greek gods.

Best moments of the album: Hades in the Night, Ares, God of War and Orpheus Charms the Gods of Death.

Worst moments of the album: Gorgon Medusa.

Released in 2019 Fighter Records

Track listing
1. Hades in the Night 3:02
2. Pandora’s Box Unleashed 3:48
3. Ares, God of War 2:31
4. Lightning Crashed 3:21
5. Pentheselia 2:56
6. Gorgon Medusa 2:50
7. Aphrodite, Queen of Lust 3:22
8. Orpheus Charms the Gods of Death 3:10
9. Thesus and the Minotaur 3:26
10. The Odyssey 3:58
11. Gladiators (Gladiators) 3:52

Band members
Tanza Speed – vocals
Yan Turbo – lead guitar
Jo Steel – guitars, bass, drums

Album Review – HerezA / Death Metal Drunks (2019)

Join this horde of ruthless headbanging bastards in their quest for metal and booze, armed to the teeth with their brand new opus of straightforward Death N’ Roll.

Vodka, whiskey, gin, rakija, black tooth grin, tequila, Jägermeister and Jack Daniel’s, all mixed with humongous dosages of rebelliousness, depravity and violence. That’s the extremely combustible recipe found in Death Metal Drunks, the brand new album by Croatian/German Punk/Death Metal horde HerezA and a fantastic follow-up to their 2017 release I Become Death. As the band itself likes to say, there’s no “pre”, no “post”, no “tech”, no “prog” and not even any “swe” references or connotations in their new opus, but a straightforward Death N’ Roll attack highly recommended for fans of the demolishing music played by iconic acts like Cannibal Corpse, Napalm Death, The Exploited, Carcass, Kreator, Motörhead and several other relentless rock and metal entities.

Formed in 2014 in Beli Manastir, Croatia, but currently located in the beautiful Stuttgart, capital of southwest Germany’s Baden-Württemberg state, what used to be a duo comprised of vocalist Ivan Kovačević and guitarist Slobodan Stupar is now a full-bodied squad with the additions of bassit Holger and drummer Thomas Polder, which translates into not only a more dynamic musicality but also makes it possible for HerezA to tour a lot more, spreading their nihilistic, inebriate and boisterous creations to the four corners of our decaying world. Produced by Slobodan himself, recorded, mixed and mastered by Mario Marković, and featuring an absolutely superb cover art by Croatian artist Andrej Bartulović (All Things Rotten), perfectly representing what HerezA are all about, Death Metal Drunks is one of those albums that will put a huge smile on your face every single time you listen to it, inspiring you to join other metalheads into the sickest circle pits you can think of.

Wicked distortions and a menacing aura suddenly explode into sheer violence in the form of music in Back From The Grave, where Ivan’s roars sound even more enraged than in their previous album, while guest vocalist Adrie Kloosterwaard (Sinister) delivers deep, guttural Cannibal Corpse-inspired lines to make things even more brutal. Then Slobodan shows no mercy for our necks with his incendiary riffs in Genocid, where Thomas keeps hammering his drums frantically, therefore being recommended for fans of a thrashier and more hardcore version or our good old Death Metal; whereas Kopam Oči, Režem Jezik, Prste, Nos I Uši (“I dig my eyes, I cut my tongue, my fingers, my nose and my ears” from Croatian), featuring guest vocals by Igor Buljin (Gorthaur’s Wrath), follows a similar pattern as most songs in I Become Death, or in other words, it’s  an onrush of vicious sounds that will inspire you to slam into the pit like a maniac while Slobodan and Holger don’t stop slashing their stringed weapons mercilessly.

Blazing guitars and punk-infused drums dictate the rhythm in the boozy metal hymn Death Metal Drunks, by far my favorite song of the album showcasing utterly entertaining lyrics vociferated by Ivan (“We are back once again / To show you how it’s done / Pedal to the metal, full speed ahead / Breaks are for the weak / Head through the wall, we don’t care at all / Heading for selfdestruction / Give us booze, give us beer / We are ready for execution”), followed by Rak n’Roll, bringing forward less than two minutes of total sonic anarchy as if the Exploited and Napalm Death had a son (and if that son was trained by Cannibal Corpse), with highlights to Thomas’ crushing performance on drums. Horses bring the noise in Dullahan, a thunderous tune infused with badass Rock N’ Roll elements the likes of Motörhead, also presenting a great job done by Slobodan with his scorching riffs and featuring the third guest vocalist of the album, Aleister Kainulainen (King Satan), to give the whole song and extra kick. And if you think HerezA will slow down at any given point you’re absolutely wrong, as Do Kosti Bez Milosti (“to the bone without mercy”) is another overdose of violence, insanity and rage sung in their mother tongue Croatian, with Ivan’s demented growls and Thomas’ nonstop beats inspiring the listener to violently crack their spinal cords in half.

Beneath The Wheels Of Death is hell on wheels once again led by the berserk grunts by Ivan while Slobodan delivers spot-on riffs and solos, and there’s no time to breathe at all as after a weird semi-acoustic intro the quartet blasts their own version of what can be called “Country Metal” in Necrobitch, Cowgirl From The Morgue, with its lyrics seeming like they were taken from a Steel Panther song but embraced by the heaviness and speed of Punk Rock. In addition to that, pay good attention to how Holger’s groovy and rumbling bass lines add a lot of electricity to the overall result. In Stupid Spoiled Whore the quartet once again brings to our ears very “classy” lyrics (“Spoiled, rich, little girl / You have everything in the world / Mommy and daddy love you so / They can’t see you’re just a / Piece of shit / You make me sick / An ugly boar / Stupid spoiled whore / Shit for brains / You leave stains / Everywhere you go / You’re stupid spoiled whore”), with the music being a feast of raw, razor-edged noises and tones that couldn’t sound more violent. And lastly, Monstrum is a beyond thrilling and deranged way to close such excellent album of extreme music where Thomas steals the spotlight with his frantic drumming while Ivan, Slobodan and Holger fill out every empty space with their respective growls, riffs and bass punches.

After all is said and done, I have only one very simple question to you, and I’m pretty sure your answer will be positive. Do you consider yourself a Death Metal drunk? Well, if you’re reading this review to the very end I believe you are, which means you’re more than ready to join HerezA in their quest for metal and booze by following them on Facebook, and especially by purchasing your copy of Death Metal Drunks (available for a full listen on Spotify and on YouTube) from the Godz ov War Productions’ BandCamp or webstore, as well as from Apple Music and Discogs. And after putting your hands on the album and hitting play, you know what to do. It’s booze, slamming, more booze, headbanging while slamming, an extra dose of booze, and so on.

Best moments of the album: Kopam Oči, Režem Jezik, Prste, Nos I Uši, Death Metal Drunks and Do Kosti Bez Milosti.

Worst moments of the album: None.

Released in 2019 Godz ov War Productions

Track listing
1. Back From The Grave (feat. Adrie Kloosterwaard) 2:56
2. Genocid 1:58
3. Kopam Oči, Režem Jezik, Prste, Nos I Uši (feat. Igor Buljin) 2:53
4. Death Metal Drunks 3:10
5. Rak n’Roll 1:34
6. Dullahan (feat. Aleister Kainulainen) 2:42
7. Do Kosti Bez Milosti 3:15
8. Beneath The Wheels Of Death 2:10
9. Necrobitch, Cowgirl From The Morgue 3:23
10. Stupid Spoiled Whore 2:35
11. Monstrum 1:38

Band members
Ivan Kovacevic – vocals
Slobodan Stupar – guitar, vocals
Holger – bass
Thomas Polder – drums

Guest musicians
Adrie Kloosterwaard – vocals on “Back From the Grave”
Igor Buljin – vocals on “Kopam Oči, Režem Jezik, Prste, Nos I Uši”
Aleister Kainulainen – vocal on “Dullahan”

Concert Review – Slipknot (Budweiser Stage, Toronto, ON, 08/20/2019)

An awesome night of heavy music spearheaded by the world’s most beloved and rebellious masked horde, showing everyone that if you’re 555, then Toronto is 666.

OPENING ACTS: Behemoth, Gojira and Volbeat

Blackened Death Metal, Progressive Groove Metal, Rock N’ Roll and Alternative Metal. What at first it might look like the distinct styles you usually find at an European metal fest during the summer is actually the lineup of the 2019 edition of the highly-acclaimed Knotfest Roadshow, and fortunately for us Torontonians the one and only Slipknot and their friends from Behemoth, Gojira and Volbeat brought that amalgamation of very different but utterly electrifying genres to the always great Budweiser Stage on another hot summer day in the city. It was a Tuesday, just the beginning of the week, which means most people who attended the show still had an entire week of work after around six intense hours of loud beats, unstoppable riffs and demented circle pits. Well, who cares, right? It’s all in the name of our good old Heavy Metal and Rock N’ Roll.

Just by arriving at the venue you could see it was going to be a very special day for longtime fans of Slipknot, with several of them being properly dressed as their idols, including some wicked (and a few weird) masks, showing how much those people love and respect a band that revolutionized metal music 20 years ago and that are still alive and kicking. If you had the opportunity to arrive to the Budweiser stage right when the gates were opened, you were able to enjoy a lot of different attractions such as a special Slipknot exhibition right beside where 2018 Wacken Metal Battle Canada winners Centuries of Decay (you can see more details about their 2018 win HERE) where blasting their first-class Progressive/Atmospheric Death Metal, enjoy one or more of the several food trucks available, test your knowledge of metal music by taking a fun quiz at the Monster Energy truck (needless to say, I had all six answers correct and got myself a nice Monster Energy bandana), or even take a picture with that crazy dude who tried to swim back to the Slayer concert in 2018 at that same venue. He was wearing a personalized shirt about his 2018 incident and two arm floats. Yes, he’s that crazy.

However, when the clock hit 5:30pm sharp, it was time for the gods and demons of heavy music and all fans that were already at the venue (and I was surprised by the huge number of people that managed to get there in time for the very first concert) to witness another blasphemous, theatrical and absolutely heavy-as-hell performance by Poland’s own BEHEMOTH. Still promoting their awesome 2018 opus I Loved You At Your Darkest, the iconic Nergal and his henchmen Seth, Orion and Inferno delivered a short and sweet concert for fans of their darker version of Death Metal, literally spitting fire, blood and blasphemy on our faces for around 40 minutes, with songs like Ora Pro Nobis Lucifer,  Bartzabel and Chant for Eschaton 2000 proving why they became one of the most beloved extreme bands of the past decade, and also one of the most hated and abhorred by any type of church (which in the end is a very positive thing).

Setlist
Solve
Wolves ov Siberia
Daimonos
Ora Pro Nobis Lucifer
Bartzabel
Conquer All
Sabbath Mater
Chant for Eschaton 2000

Band members
Adam “Nergal” Darski – lead vocals, guitars
Patryk Dominik “Seth” Sztyber – guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion

After a quick break the stage was ready with all of its lights aiming at our faces to warn us the pulverizing concert by French Progressive/Groove Metal institution GOJIRA was about to begin, and let me tell you it was simply fantastic and insanely heavy from start to finish. The Duplantier Brothers Joe and Mario, together with Christian Andreu on the guitar and Jean-Michel Labadie on bass delivered a neck-breaking performance for our total delight, leaving us all eager for more of their music in Canadian lands. I loved how heavy, dense and thrilling songs like Stranded, Flying Whales (my favorite of their setlist) and Silvera sounded last night, and we must thank Mr. Mario Duplantier for that. The guy is an untamed beast on drums, crushing his drum set flawlessly and throwing almost all of his sticks to the fans throughout his bestial performance. After such devastating concert by Gojira, I must say once again there’s only one thing I hate about festivals, and that’s the fact bands like Gojira do not have enough time to show the crowd everything they got.

Setlist
Toxic Garbage Island
Backbone
Stranded
Flying Whales
Love
The Cell
Silvera
The Gift of Guilt

Band members
Joe Duplantier – vocals, guitar
Christian Andreu – guitar
Jean-Michel Labadie – bass
Mario Duplantier – drums

After two demolishing concerts of extreme music, it was time to cool things down a bit with the heavier-than-usual Rock N’ Roll by Danish institution VOLBEAT, who are just beginning to promote their newest album Rewind, Replay, Rebound. As a big fan of Volbeat, I was a little worried about how the most berserk Slipknot fans would react to their fusion of lighter styles like Rock N’ Roll and Hard Rock, and during the first few songs let’s say most fans weren’t impressed with their music. However, after Sad Man’s Tongue (preceded by a snippet of Johnny Cash’s “Ring of Fire”) and Black Rose, featuring Toronto’s own Danko Jones on vocals together with Michael Polsen, things started to pick up and the more than 13 thousand fans at the venue who were already anxious for Slipknot had a great time with the band, especially when they played their heavier stuff like A Warrior’s Call, Dead But Rising and Seal the Deal. In a nutshell, it might not have been the best slot to add Volbeat, right after Behemoth and Gojira and right before Slipknot, but you know what? In the end it all worked really well, something only talented bands like Volbeat can do even against all odds.

Setlist
Born to Raise Hell (Motörhead song)
The Devil’s Bleeding Crown
Lola Montez
Sad Man’s Tongue
Black Rose (with Danko Jones)
The Everlasting
Slaytan
Dead But Rising
A Warrior’s Call / I Only Want to Be With You
Last Day Under the Sun
Doc Holliday
Seal the Deal
Still Counting
Sawdust in the Blood (Rob Zombie song)

Band members
Michael Poulsen – vocals, rhythm guitar
Rob Caggiano – lead guitar
Kaspar Boye Larsen – bass guitar
Jon Larsen – drums

SLIPKNOT

It was already past 9pm when the speakers began playing AC/DC’s rock anthem “For Those About to Rock (We Salute You)”, getting our engines revved up for a storm of heaviness, insanity and explosions by American institution SLIPKNOT. It was total chaos and anarchy from start to finish, with the first few songs from their setlist, those being the classics People = Shit, (sic) and Get This, already inspiring all their fans to go absolutely mental into the pit. The temperature at the Budweiser Stage was just going up, with their new songs Unsainted, Solway Firth (both from their brand new, ass-kicking album We Are Not Your Kind) and All Out Life working even better than expected. As a matter of fact, I was more than sure those three songs would sound fantastic on stage, first because they’re already damn good songs, but mainly due to the fact Slipknot on stage always take their heaviness to the next level.

Corey, Mick, Jim and all others were on fire during their long and incendiary performance, with all their stage paraphernalia (and the Budweiser Stage is just perfect for that type of concert) adding a very welcome touch of insanity to the night. Not only that, it was visible how Corey was extremely happy to be back in Toronto after a long time, letting all the energy coming from the crowd penetrate deep inside his mind and helping him growl and scream like a beast until the very end. “We’ve been at this for 20 years! It hasn’t always been easy, but looking at all of you here tonight, I can safely say we’ll be doing it for another 20,” said a more-than-excited Corey to his fans before crushing their heads once again with their venomous music. I honestly have no idea if they can keep that level of violence on stage for another two decades, but if they keep going and delivering top-of-the-line heavy music like what Slayer have been doing until now, we can rest assured rock and metal will never die.

Although the fans at the floor section were out of control inside some killer circle pits, I must say the most demented guy from the entire night was the band’s newest member Tortilla Man. How deranged and talented is that guy? He kept pounding his drums, screaming, jumping up and down, dancing and hitting his beer kegs as hard as possible without showing any signs of fatigue for almost two hours; now I fully understand why the rest of the band is so happy and excited to have Tortilla Man in the band. The only field where he wasn’t number 1 in madness and precision was dancing, because that’s Mr. Sid Wilson’s undisputed title. I don’t know for sure what exactly he does behind his turntables, but when he’s there dancing and having fun around the stage it’s a whole new thing. That guy is just as sick as his music, no doubt about that. Anyway, after the all-time hits Spit It Out (including their famous “get down/jump the fuck up” interaction with the crowd) and Surfacing, it was time for Slipknot to say goodbye, to promise us all they will return to Toronto, and for the fans to breather a little and try to recover their energies to try to get home safe and sound. And as one final message after such amazing night of metal music, all I have to say to you is that if you’re 555, then I’m 666. As simple as that.

Setlist
For Those About to Rock (We Salute You) (AC/DC song)
(515)
People = Shit
(sic)
Get This
Unsainted
Before I Forget
Solway Firth
The Heretic Anthem
Psychosocial
The Devil in I
Prosthetics
Vermilion
Custer
Sulfur
All Out Life
Duality

Encore:
Spit It Out
Surfacing
‘Til We Die

Band members
(#0) Sid Wilson – turntables, keyboards
(#4) Jim Root – lead and rhythm guitars
(#5) Craig “133” Jones – samples, media, keyboards
(#6) Shawn “Clown” Crahan – custom percussion, backing vocals
(#7) Mick Thomson – lead and rhythm guitars
(#8) Corey Taylor – lead vocals
Alessandro Venturella – bass
Jay Weinberg – drums
Tortilla Man – custom percussion, backing vocals

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Album Review – WildHeart / No Love (2019)

Highly inspired by classic Hard Rock and Glam Metal from the 80’s, this five-piece act from Belgium will take you on an electrifying journey back to the Sunset Strip anno 1986.

Hailing from Ninove, a city and municipality located in the Flemish province of East Flanders in Belgium, Hard Rock outfit WildHeart is a young and hungry band with a great passion for and highly inspired by classic Hard Rock and Glam Metal from the 80’s such as Whitesnake, RATT, Mötley Crüe, Dokken and Van Halen, taking you on a journey back to the Sunset Strip anno 1986 with their fun and vibrant music. Having the debauchery on stage and a carefree Rock N’ Roll vibe as their top priorities, the band comprised of frontman Farty, guitarists Foxx and Juice, bassist Stevie Dee and drummer Thunderberck is offering to our ears now in 2019 their sophomore album entitled No Love, a follow-up to their also excellent self-titled debut album released in 2016.

Produced by Joren Cautaers and mastered at Mass Destruction Production in Sweden by none other than Erik Martensson, known from bands like Eclipse and W.E.T., No Love is a thrilling feast of rockin’ tunes and sounds tailored for diehard fans of the genre who are always eager to meet new bands playing that classic sonority from around 30 years ago. Even the band’s attire seems to be taken from the golden years of Glam and Heavy Metal, looking like a more serious (but still uncompromising) version of our beloved Steel Panther and really old school Van Halen.

The old school intro The Mirror grows in intensity until A Stranger’s Eyes comes crushing our heads and warming up our hearts, exhaling pure Hard Rock for lovers of the music by Motley Crüe and Poison, with the blazing riffs by Foxx and Juice dictating the song’s frantic rhythm while Farty powerfully declaims its lyrics. After such powerful start, it’s time to put on your tight leopard pants and get ready to bang your head with the band in Nothing but Trouble, a song that sounds as if it was taken straight from an album recorded in the 80’s, with Thunderberck pounding his drums with a lot of precision and Stevie Dee adding the word “metal” to the musicality armed with his bass punches; whereas a catchy riff ignites the headbanging Dutch Courage, where all band members showcase their deep passion for Glam Metal in over five minutes of first-class rock music for the masses. Moreover, Farty steals the spotlight with another fantastic vocal performance, while the band’s guitar duo breathes fire with their refined solos.

The title-track No Love leans towards classic Skid Row with hints of Survivor’s all-time hit “Eye of the Tiger”, with the sync between guitars, beats and bass being simply amazing, therefore resulting in an energizing tune that should sound beyond electrifying if played live. Then showcasing an Iron Maiden’s “From Here To Eternity”-inspired riff, led by Thunderberck’s crushing beats and presenting a pure 80’s vibe, One Way Ticket to Paradise is more than perfect for singing along with the band or enjoying it while having a relaxing ride on the highway on a summer day; and WildHeart keep hitting our heads hard with their old school music in Rumours, a song that feels like a power ballad at times, but still bringing the groove and punch from faster rock songs. Needless to say, Farty once again delivers a great performance on vocals, not to mention the band’s usual incendiary guitar solos.

Now rev up your engines for a mid-tempo Hard Rock extravaganza entitled Good to Be Bad, infused with the heavier sounds by bands like Judas Priest and Primal Fear (especially during the song’s scorching hot, metallic riffs), turning it into a great metal hymn perfect for raising your fists in the air together with the band. The Winner’s Always Right is another explosion of classic rock and metal spearheaded by Foxx’s and Juice’s unstoppable axes, while Thunderberck keeps slamming his drum set in great fashion. Well, this song definitely asks for a colorful bandana, don’t you think? Anyway, adding hints of classic Rock N’ Roll and Southern Rock to their old school musicality, this rockin’ quintet offers us the fun and fresh Valerie, and you’re already aware that every single time a Hard Rock band writes a song named after a girl, the final result exhales awesomeness. Lastly, WildHeart probably thought it was a good idea to close the album with a true headbanger, and that’s exactly what we get in Tonight We Rock, bringing to our avid ears a flammable fusion of the music by Van Halen with Scorpions, hence making it impossible to stand still to the dynamic riffs and beats blasted by the band while Farty delivers what’s perhaps his most inspired vocals of the whole album.

No Love, which by the way is available for a full and delicious listen on Spotify, is more than just another album of Hard Rock. It’s a passionate, detailed and very honest tribute from WildHeart to all of their heroes from the 80’s, working as some sort of “time machine” for everyone who loves that classic rock sonority that has been embellishing the Sunset Strip for over 30 years. Having said that, don’t forget to show those Belgian metalheads you true support and admiration by following them on Facebook, by subscribing to their YouTube channel, and of course by purchasing your copy of No Love from several locations like Apple Music. After listening to No Love, I caught myself wondering if there’s a street that can be named the “Belgian Sunset Strip” in WildHeart’s homeland, having those obstinate rockers as one of the greatest new names of European Hard Rock and Glam Metal.

Best moments of the album: Dutch Courage, One Way Ticket to Paradise and Tonight We Rock.

Worst moments of the album: None.

Released in 2019 WildHeart Records

Track listing
1. The Mirror 1:12
2. A Stranger’s Eyes 5:21
3. Nothing but Trouble 5:00
4. Dutch Courage 5:09
5. No Love 5:03
6. One Way Ticket to Paradise 5:13
7. Rumours 6:12
8. Good to Be Bad 4:33
9. The Winner’s Always Right 4:43
10. Valerie 4:46
11. Tonight We Rock 4:47

Band members
Farty – vocals
Foxx – guitar
Juice – guitar
Stevie Dee – bass
Thunderberck – drums

Metal Chick of the Month – Ela

ELA ROCKS!

Hailing from the charming Stuttgart, capital of southwest Germany’s Baden-Württemberg state and known for the Mercedes-Benz and Porsche headquarters and museums, our metal chick of the month of August is ready to set fire to The Headbanging Moose with her powerful vocals, stunning looks and deep passion for Hard Rock, Rock N’ Roll, and Heavy and Power Metal. Furthermore, you’ll certainly find her evolution in music quite interesting, from her mellower, radio-friendly Pop Rock early days to her current ferocious beast mode, blasting first-class Heavy Metal for our absolute delectation, always ready to rock like there’s no tomorrow. Ladies and gentlemen, please welcome the raven-haired vocalist Michaela “Ela” Eichhorn, or if you prefer you can simply call her Ela, frontwoman for German Melodic Heavy Metal band ELA and a woman that beautifully represents the power and importance of women in contemporary metal music.

You won’t find a lot of personal details about our dauntless Ela on the internet, but that doesn’t mean there isn’t a lot to read, learn and enjoy about her. Let’s say that if you want to know more about Ela, all you have to do is search for her own band ELA, as in the end the two can be considered the same entity. In other words, there’s no Michaela Eichhorn without ELA and vice-versa, which means we’ll be focusing on Ela’s career with her band on this humble tribute to this talented German singer, starting with the band’s inception over ten years ago, in the year of 2006. As a matter of fact, we can go a bit further than that, to the year of 2004, when Ela was part of a Karlsruh, Baden-Württemberg-based band named Com’n Rail, with whom she released the full-length album Out of My Universe that same year (and you can still buy the album from Amazon or from Discogs).

After several concerts all over Germany to promote Out of My Universe in the following years, Com’n Rail split up in 2006, with Ela finally founding what’s known today as ELA. However, as already mentioned, the band’s first releases, those being the EP’s Out of Time and Little Lies, both released in 2008, and the full-length albums Passion, from that same year, and Make My Day, from 2009, showed a much smoother side of Ela, offering her fans a fusion of classic Hard Rock with pop and alternative music. Ela’s debut EP Out of Time featured German musician J.R. Blackmore (the son of Ritchie Blackmore and his former German wife Margit, and known from bands like EBC Roxx and Over the Rainbow) on the guitar, with the invitation originating from Ela herself after listening to one of his instrumental pieces during a radio interview in Hamburg and falling in love with his refined technique. Upon returning home that night, she sent an email to Mr. Blackmore inviting him to participate in her album, he obviously accepted the invitation, and two weeks later the single Out Of Time was recorded (check out the official video shot at the legendary rock club Headbangers Ballroom in Hamburg HERE), with the full EP featuring the aforementioned single, a couple of original songs  by Ela and instrumental pieces by Mr. Blackmore, and a cover version for UFO’s Queen of the Deep. As a consequence of the very positive feedback received from fans and the specialized media, the duo went on a fairly extensive European tour after the release of the EP, not to mention the official video was played on many German music channels such as iMusic1 TV, Hit24, Deluxe TV and Streetclip.Tv.

The year of 2008 also witnessed the release of her first full-length album Passion, which you can listen in full on YouTube, again drawing excellent feedback and very positive reviews from the media. This was Ela’s first cooperation with Martin Engler of Mono Inc., which also happened in her next album. Songs like After the Rain and Out of Time achieved great success among fans of her music, the first single Little Lies made it onto several radio playlists for several weeks, her cover versions for Credence Clearwater Revival’s Who’ll Stop the Rain and Cheap Trick’s I Want You To Want Me were simply amazing, and Bleed got its own official video, shot at a castle for Ela’s own delight. “I’m a huge fan of castles, and it was my utmost wish to film on the historic grounds of a fortress. Just the masonry is ever so fascinating, and for a song like ‘Bleed’ I couldn’t have imagined any other location”, said our talented frontwoman.

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In 2009 Ela was back in action with a more rockin’ sonority with the album Make My Day, featuring re-recorded songs form her previous releases, and new songs like Here to Stay, Who (Won’t You Tell Me) and Right for the Devil, and once again featuring Martin Engler on drums, percussion, keyboards, programming and other arrangements. Ela had a few nice words to say about this heavier and harder version of her music. “The atmosphere in a studio is different to the one on stage, where you’re being swept away by the energy of your fans. Before you pick a song for an album, you work for weeks on that tune until it is to your perfect liking. However, and I think I speak for many of my musician colleagues here, after a while you may dislike this song and/or you suddenly get new ideas for it. Music has a lot to do with emotions, so I think that your own feelings play a major role here. When you know that you’re due to play live shows, it gets you in a different mood, you feel changed. I can only speak for myself, but I felt an overpowering urge to bring these songs across way harder – well, I guess, I simply wanted to ROCK more,” she commented, already pointing to a heavier future for her band.

Although Ela might not have released any new material under her own band until 2015, in 2010 she founded together with J.R. Blackmore and keyboardist Tony Carey (Rainbow) the project EBC Roxx,  having released the album Winners Vol.1 that same year,  with the song Silver Arrows being the anthem to accompany the first race of Mercedes Formula 1 pilots Michael Schumacher and Nico Rosberg that season. Then after a short hiatus Ela returned in 2015 with her band ELA showcasing a more visceral and metallic sound in Nervous Breakdown, featuring among several hard and heavy songs a medley of two of Slade’s biggest classics, Cum On Feel the Noize and Gudbuy T’Jane. Produced by Jörg Uken (Soundlodge Tonstudio) and mixed by Sascha Paeth (Avantasia, Beyond the Black, Edguy), Nervous Breakdown led Ela and her bandmates to promote the album on a tour with the iconic band Bonfire, proving once again she was on the right path in heavy music.

In 2016 Ela and her henchmen got even more metal with the release of the EP Out Of This World, presenting a much harder sonority closer to the Symphonic Metal played by bands such as Nightwish and Lacuna Coil, as you can see in this live version of the song This Kaleidoscope from 2017. Then in 2017 ELA finally achieved its most metallic form with the release of the full-length opus Second Reality, featuring powerful songs like Deadly Sins, therefore explaining why the album stayed in the Top 20 of the German Rock and Metal Charts for weeks. Ela’s metal side received so much praise from fans, critics and media from all over the world her band even toured around Germany as a supporting act for the one and only Grave Digger, not to mention Ela’s guest vocals in 2019 in the title-track Facing the Demon, from the album Facing the Demon, by German Melodic Heavy Metal act Reternity. Having said all that, you might be asking yourself what’s next for Ela, right? Well, no one knows exactly what our dark-haired singer will bring to our avid ears in the future, but we can rest assured it’s definitely going to rock our world.

ELA’s Official Facebook page
ELA’s Official Instagram
ELA’s Official YouTube channel

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

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

INTRODUCTION: Alive and Kicking 10 Years On

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

SKILLET

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

GAMMA RAY

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

IN THIS MOMENT

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

HEAVY MANIA

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

SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS

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

ANTHRAX

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

SLAYER

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

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

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

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

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

Album Review – Reternity / Facing the Demon (2019)

An exciting display of Melodic Heavy Metal by four experienced musicians from the German scene, dealing with the struggles we all have with our inner demons and temptations.

Founded in the summer of 2018 in Heilbronn, a city in northern Baden-Württemberg, Germany, by Stefan Zörner (SpiteFuel, Lanfear, Strangelet) on vocals, Carsten Sauter (Mighty D., Pyroclasm) on guitars and bass, Semen Brik (Echo.Mensch) also on the guitar, and Sascha Beul (Remember Twilight, Darkness Ablaze) on drums, four experienced and skillful musicians from the German Heavy Metal and Hard Rock scene, Melodic Heavy Metal outfit Reternity has just released their debut full-length album, entitled Facing the Demon, following up the successful release of their 2018 two-track demo, which received an amazing feedback from both fans and critics. Dealing with the struggles we all have with our inner demons and temptations, something that’s beautifully depicted in the album artwork, Facing the Demon was carefully produced by Jonas Kümmerle at Analog Mixing Studio, taking the album’s overall sound quality to a whole new level and, therefore, allowing those Swabian metallers to shine throughout 40 minutes of heavy music, ranging from classic Hard Rock to more berserk styles such as our good old Thrash Metal.

The acoustic guitars by Carsten and Semen kick off the intro Strings of Sor 1: Sunset, working as the calm before the storm for Last Days of War, a frantic and very melodic Heavy Metal tune with thrashing elements, as if Anthrax decided to play a faster version of Hard Rock. Moreover, Stefan leads his metal brigade with his ass-kicking, angry vocals, keeping the energy level really high until the next song, titled Tomorrow’s History, comes crushing our minds with another incendiary performance by the band’s guitar duo while Carsten keeps rumbling the foundations of the earth with his bass lines, also bringing some soulful guitar solos just the way we like it in Power Metal. Then the spoken words by Stefan in the melodic bridge Reternity II set the tone for the amazing Hard Rock power ballad I Love the Night, highly inspired by 80’s Glam Metal but with the band’s own modern twist. As the sound of guitars and bass fills every empty space in the air, get ready to sing the song’s awesome chorus alongside those German metallers in great fashion.

In Down. Not. Broken, one of the songs from their 2018 demo and another potent tune infused with Thrash Metal nuances, it’s time for Sascha to pound his drums mercilessly, therefore adding tons of electricity and stamina to the musicality, with Carsten and Semen once again kicking us in the face with their riffs and solos. The title-track Facing the Demon is a lesson in Symphonic Power Metal, with Stefan and guest vocalist Michaela “Ela” Eichhorn (frontwoman for German Melodic Heavy Metal band E:L:A) being on fire and utterly flawless on vocals, while the guitars and bass sound absolutely metallic from start to finish for our total delight; whereas in Singularity all instruments, in special the bass lines, present a lot of Progressive Metal nuances, sounding more modernized than the rest of the album, albeit not as vibrant. Furthermore, Stefan does a great job on vocals as usual, with the song’s acoustic ending also being a nice addition to the overall result.

The second song from their 2018 demo, Suicide Butterflies, is a very rhythmic and solid creation by Reternity, showcasing an electrified Sascha on drums while Carsten brings considerable amounts of progressiveness and groove with his riffs and bass punches; followed by Stone to Mouth, featuring German singer Chantal Freier doing a gorgeous introduction to the song in her mother tongue. Overall, it sounds like a fusion of the music by Skid Row, Gojira and Anthrax with alternative music from the 90’s, with all the shredding plus the German words being welcome extra touches to such vibrant composition. And last but not least, Carsten and Semen fire acoustic guitar lines one last time in the outro Strings of Sor 2: Sundown, closing the album on a serene note; however, keep listening to it for the hidden track All Grey, a fun and frantic Heavy Metal and Rock N’ Roll party with highlights to Stefan’s vocal performance boosted by the song’s effective backing vocals.

You can show your support to those skillful and unrelenting Teutonic metallers by following them on Facebook, and of course by purchasing your copy of Facing the Demon (also available for a full listen on Spotify) from the MDD Records webstore, from iTunes or from Amazon. Because, you know, if you’ve decided you’re finally going to face your inner demons from now on, keeping your head high and without any fear of failure, the best way to do that is accompanied by our good old Heavy Metal, no doubt about that.

Best moments of the album: Last Days of War, I Love the Night and Facing the Demon.

Worst moments of the album: Singularity.

Released in 2019 MDD Records

Track listing
1. Strings of Sor 1: Sunset (Intro) 1:05
2. Last Days of War 4:22
3. Tomorrow’s History 3:50
4. Reternity II 0:54
5. I Love the Night 2:55
6. Down. Not. Broken 3:32
7. Facing the Demon (feat. Michaela “Ela” Eichhorn) 4:31
8. Singularity 5:34
9. Suicide Butterflies 4:18
10. Stone to Mouth (feat. Chantal Freier) 4:47
11. Strings of Sor 2: Sundown (Outro) 1:12
12. All Grey (Hidden track) 2:39

Band members
Stefan Zörner – vocals
Carsten Sauter – guitars, bass
Semen Brik – guitars
Sascha Beul – drums

Guest musicians
Chantal Freier – female vocals (intro) on “Stone to Mouth”
Michaela “Ela” Eichhorn – female vocals on “Facing the Demon”

Album Review – [P.U.T] / We Are [Br]others (2019)

An amalgamation of sludge, industrial and punk noises at their finest, brought forth by three brothers who have been delivering first-class music for over 20 years.

Blasting our eras with a raw and dirty fusion of Industrial and Sludge Metal since 1998, Brussels, Belgium and Paris, France-based brothers Loïc Beyet (guitar, voice, programming), Lionel Beyet (bass, programming, voice) and Nicolas Beyet (guitar, voice), collectively known as Industrial Sludge Noise beast [P.U.T], are unleashing upon humanity their sixth full-length opus entitled We Are [Br]others, highly recommended for fans of the noisy music by acts like Sonic Youth, Killing Joke, Godflesh and Neurosis, among several others. Self-recorded between Paris and Brussels, mixed by Loïc at garlic.lab between November 2017 and May 2018, mastered by Alexandre Vitrac, an ex-[P.U.T] member, at Studio CBE in June 2018, and featuring a classy and obscure artwork by French artist Alexis Horellou, We Are [Br]others is the first [P.U.T] album to feature the three Beyet Brothers in the lineup, offering the listener the band’s trademark amalgamation of machine sounds, guitars, noise, sludge, industrial and punk at their finest, overflowing madness, heaviness and anger over the span of 50 minutes.

Their first onrush of distorted sounds, titled In Control, is a metallic fusion of the Industrial Metal played by bands like Rammstein and Nine Inch Nails with the sluggish and “polluted” riffs from classic Sludge Metal where the Beyet Brothers vociferate from the depths of the underworld, and with Lionel also delivering some powerful jabs from his bass. Following such eerie start we have Nothing, even more disruptive and grim than the opening track, a perfect option to be part of the soundtrack to a psychological thriller. Moreover, its guitars sound as raw and venomous as they can be, bringing all the heaviness and madness found in the music by the iconic Ministry, for example. Then putting the pedal to the metal [P.U.T] offer a high-octane mix of modern-day Rock N’ Roll with classic Industrial Metal titled In Conflict, where Loïc and Nicolas are in absolute sync with their riffs while all background voices and sound effects add a touch of lunacy to the music; and the roaring bass lines by Lionel ignite the dark and devilish Down, showcasing pugnacious gnarls and steady, fierce beats that live up to the legacy of Sludge and Stoner Metal the likes of Down (and I dare to say this is not a coincidence at all), all embraced and spiced up by additional orchestral elements. Closing the first half of the album, Opressed is perhaps the most electronic and weird of all tracks, presenting elements from contemporary Electronic Pop and Rock à la Daft Punk and Kraftwerk such as robotic voices and a dancing rhythm, all without forgetting the fury of rock music flowing from its guitars.

I Am Here is a cinematic and very experimental track by [P.U.T], with its wicked noises and futuristic atmosphere invading our senses before the disruptive Angry comes crushing, and that’s exactly how they sound, firing crude, unfiltered riffs from their flammable guitars and grunting rabidly nonstop. Furthermore, this is another interesting hybrid of the vicious music by acts like Ministry and Rob Zombie with the band’s own demented twist. And sounding like unstoppable machines from an assembly line, the trio delivers another vicious song entitled Possesed, where once again the guitars by Loïc and  Nicolas exhale rage while the low-tuned bass lines by Lionel bring even more insanity to their music; it just goes on for a little too long, though, but nothing that hurts the overall quality of the album.  In Not Your Dog the brothers are back to a more rockin’ sonority, bringing forward their trademark raspy vocals and visceral riffs and leaning towards old school Sludge Metal with a doom-ish vibe, offering the listener some piercing guitar solos as a “bonus”, whereas their coup de grâce comes in the form of a neck-breaking, eccentric creation titled Pain, with the sound of guitars being boosted by Lionel’s menacing bass in a good balance between mechanized, ethereal sounds and sheer aggression, flowing wickedly until its Stygian ending.

In a nutshell, [P.U.T] (or the Beyet Brothers, if you prefer) worked as hard an united as the family they are in We Are [Br]others, generating a must-have album for admirers of this more eccentric and experimental side of alternative music commonly referred to as Industrial Sludge Noise. Hence, if all their noises and distortions are your cup of tea, don’t forget to give them a shout on Facebook, and buy your copy of the album from their own BandCamp page or from the Cursed Monk Records’ BandCamp page. Much more than just regular brothers, Loïc, Lionel and Nicolas are extremely talented musicians, channeling all their energy and creativity into a very entertaining rock and electronic party, and therefore keeping underground alternative music relevant, vibrant and fresh.

Best moments of the album: Nothing, In Conflict and Angry.

Worst moments of the album: Possesed.

Released in 2019 Cursed Monk Records

Track listing
1. In Control 6:10
2. Nothing 3:15
3. In Conflict 3:15
4. Down 4:27
5. Opressed 5:41
6. I Am Here 2:53
7. Angry 6:04
8. Possesed 7:20
9. Not Your Dog 4:32
10. Pain 6:58

Band members
Loïc Beyet – guitar, voice, programming
Lionel Beyet – bass, programming, voice
Nicolas Beyet – guitar, voice