Album Review – Lebowskii / Liquidators EP (2018)

Presenting a fast, groovy and electrified fusion of 80’s and 90’s Thrash Metal with traditional Heavy and Death Metal sounding, please welcome a promising new act from the French underground scene.

It’s time for The Headbanging Moose to take a short and extremely fun and heavy trip to Nantes, a city on the Loire River in the Upper Brittany region of western France, to slam into the pit to the flammable Thrash Metal blasted by a brand new group in the French independent scene that goes by the name of Lebowskii. If you’re a diehard fan of bands such as Slayer, Death, Megadeth, Cannibal Corpse, Metallica and Tool, you’ll have a great time listening to the music by this four-piece act comprised of Damien on vocals and guitar, Jonathan on vocals and bass, Boris on the guitar and Laurent on drums. Together those four French horsemen are releasing their debut EP, titled Liquidators, presenting a high-octane, groovy and electrified fusion of 80’s and 90’s Thrash Metal with traditional Heavy and Death Metal sounding.

In the opening track, titled Why Are We Falling Down?, we already get to know who Lebowskii are, as we face four metallers crushing our heads with their fiery mix of Thrash and Groove Metal. Moreover, Laurent shows all his fury through his fierce beats in this great composition highly recommended for banging your head and cracking your spine, while Damien leads the battle with his enraged screams. Then we have Haunting A Shell Of Flesh, slightly slower but heavier than its predecessor due to the smashing drums by Laurent, also presenting hints of the Thrash Metal by Slayer and Testament, with Boris bringing a welcome balance to the song’s neck-breaking core rhythm with his precise guitar lines. And leaning towards modern Thrash Metal (without losing its old school vibe) the band offers us all the title-track Liquidators, bringing forward a great riffage by Boris while Damien effectively screams and shouts the song’s violent lyrics,supported by Jonathan and his backing vocals, who also delivers groovy, solid bass lines during the entire song.

Their feast of contemporary metal blended with traditional riffs and beats from Bay Area Thrash goes on in Your Brain Is Just Insane, another song tailored for headbanging nonstop with the band where Damien and Jonathan once again make a great duo on vocals, pumping up the listener to scream and shout together with them. Lastly, closing the EP the band blasts more aggression in the form of music in Narrow Minded, a song where you’ll be able to enjoy Lebowskii in their most Groove Metal mode, with the sound of bass and drums being truly thunderous. In addition, when you reach this point of the EP you’ll realize that although all five songs are longer than your usual Thrash Metal tune (mainly due to the progressiveness added by all band members with their refined techniques), that doesn’t mean they get tiresome or boring. Quite the contrary, Lebowskii are a band that knows how to captivate our attention for an extended period of time, no matter how long their compositions might be.

If you are a fan of straightforward heavy music with no shenanigans nor any artificial elements, then you should definitely give Lebowskii a try by liking their Facebook page, and obviously by buying your copy of the ass-kicking EP Liquidators through their BandCamp page or through the M.U.S.I.C. Records webstore. This is the type of music that once it gets into your day-to-day playlists, it will stay there forever, and you’ll find yourself banging your head to the flammable riffs and hardcore attitude by Lebowskii over and over again. As a matter of fact, remember we’re talking about a five-track EP only, which makes me wonder how insane a full-length album by such promising band shall sound like (and I hope Lebowskii deliver that sooner than later, for our total delight).

Best moments of the album: Why Are We Falling Down? and Liquidators.

Worst moments of the album: None.

Released in 2018 M.U.S.I.C. Records

Track listing
1. Why Are We Falling Down? 5:50
2. Haunting A Shell Of Flesh 5:58
3. Liquidators 5:12
4. Your Brain Is Just Insane 5:47
5. Narrow Minded 6:26

Band members
Damien – guitar, vocals
Jonathan – bass, vocals
Boris – guitar
Laurent – drums


Beverage Review – Megadeth’s À Tout Le Monde Beer

A superb beer that tastes smooth and fresh without losing the core punch and energy of a good brew, just like its beyond-classic eponymous Heavy Metal ballad.

“À tout le monde, à tous mes amis
Je vous aime, je dois partir
These are the last words I’ll ever speak
And they’ll set me free”

À Tout Le Monde, which gained a revamped version titled À Tout Le Monde (Set Me Free) in 2007 featuring Cristina Scabbia, is not only one of the biggest hits by Thrash/Speed Metal titans Megadeth, but also one of the most touching, most recognizable and most powerful metal ballads of all time without a shadow of doubt. However, in 2016 À Tout Le Monde also became a synonym to a new beer by Unibroue, a brewery located in Chambly, Quebec, Canada that was started by Serge Racine and Quebec native André Dion in 1990, and known for some of the most admired craft beers in Quebec and in the rest of Canada such as Blanche de Chambly (Witbier), Don de Dieu (Tripel Wheat Ale), Maudite (Strong Red Ale), and Unibroue’s flagship beer La Fin du Monde (Tripel).

Born of the friendship between Unibroue’s brewmaster Jerry Vietz and the one and only Dave Mustaine, À Tout Le Monde is a flavorful Belgian-style, dry-hopped saison with hoppy and spicy notes, a clean, fresh taste and a crisp dry finish, dedicated to all fans of Heavy Metal and Belgian-style ales from around the world, using a dry hopping technique and, to date, having the lowest alcohol content of any Unibroue beer at 4.5%. Furthermore, À Tout Le Monde is not the first strike into the business of alcoholic beverages by “Megadave”, as back in 2014 he teamed up with Fallbrook Winery winemaker Vernon Kindred to create the Mustaine Vineyards. Although I haven’t tried any of the wines by the Mustaine Vineyards yet (and I do enjoy a good wine), as a beer guy I’m absolutely certain none of their wines can beat À Tout Le Monde, nor any of the several beers brewed by any other band in the world. And don’t worry, as I won’t be cheesy by jesting with you guys saying À Tout Le Monde is a beer “for everyone”. Or will I?

If you access the official Unibroue page for À Tout Le Monde, you’ll see their beer and food pairings list includes very distinct options such as  grilled steak, charcuteries, nachos, mussels and comté-style cooked pressed cheese, but to be honest I think you can pair this outstanding beer even with marshmallows, a peanut butter and jelly sandwich or a slice of watermelon so good and fresh it tastes. Displaying a yellow color, slightly golden with hazy appearance, and tasting slightly spicy and astringent with notes of tropical fruits and citrus like mango and litchi, À Tout Le Monde can usually be found in Canada as 341 ml or 750 ml bottles, as a 30,000 ml keg, or as draft beer, being sold at The Beer Store or at LCBO with prices going from CAD$ 14.95 for a pack of 6 bottles of 341 ml to CAD$ 222.15 for the keg. As a matter of fact, it actually took a long time for the closet The Beer Store to where I live to start selling À Tout Le Monde, which means if you do not live in Quebec your pursuit for À Tout Le Monde can get a little tedious, frustrating and time-consuming (unless you have some extra money to buy it directly online and deal with the delivery fees, of course).

The idea for the beer came about when Megadeth headlined the Festival d’été de Québec, playing their kick-ass Thrash and Speed Metal in front of eighty thousand people in 2015. “We had pulled up in the middle of the day and went to the hotel with this guy named Jerry Vietz from Unibroue. And we both had a lot of stuff in common and we hit it off right away. I was kind of sampling some of the different beverages that he had. And I told him, ‘I like this. I like this about this one. I like this about that one.’ And we made a second round, brought the liquid down to Nashville and tried it again. And I said, ‘Okay, so it’s getting really close. I like this about this, and I like this about that.’ And then I got to taste the final product for the first time in Orlando”, said Mustaine, who also had a few interesting words to say about the boom of music-inspired beers from other bands. “It’s funny, because I’ve spoken with a couple of beer magazines now — I didn’t know they had beer magazines, but evidently they do — and they said, ‘Have you tried the Iron Maiden beer?’ ‘Oh, yeah, of course.’ ‘Have you tried the AC/DC beer?’ ‘No. How is it?’ ‘Oh, it’s terrible.’ ‘Have you tried the Motörhead beer?’ ‘No. How is it?’ ‘Well, it’s okay.’ And they told me that Mastodon has a beer, I think, and then New Order has a beer too”, Mustaine said. “And it’s, like, okay, well, maybe these dudes got into it just to kind of slap their name on a can of beer or something like that. I did this because when we did the wine… In April of 2014, we made wine [to coincide with Mustaine’s performance with the San Diego Symphony], so that there was something really cool that would be like a social lubricant with everybody, but also be like an adhesive where everybody would come together with the two worlds colliding.”

Of course, as any other beer inspired or crafted by a Heavy Metal band, there are a lot of “extras” available for diehard fans of Megadeth who loved the beer like myself, some of those being free like the YouTube videos with Bernard Johnson, a Regional Sales Manager from Unibroue, talking about À Tout Le Monde, and Dave Mustaine himself talking about making his own beer and wishing us all Happy Holidays (in 2016, when the beer was launched); and if you have some spare cash to invest on some À Tout Le Monde merch you can go to the official Megadeth webstore and select whatever suits you best from the options available. I’ll personally save my money for the beer itself, buying at least the pack with 6 bottles whenever I find it here in Ontario or when I visit Quebec, and not only because I’m a longtime fan of the music by Dave Mustaine & Co., but because À Tout Le Monde is indeed a superb beer, tasting smooth and fresh without losing the core punch and energy of a good brew, just like its beyond-classic eponymous Heavy Metal ballad.

Beer details
Country: Canada
Brewer: Unibroue
Fermentation: Top
Style: Belgian Style Dry, Hopped Saison
Alcohol Content (ABV): 4.5%
Color: Yellow, slightly golden with hazy appearance
SRM: 5,5
Clarity: Slightly cloudy
Head: Egg whites
Bubbles: Fine
Effervescence: Medium and sustained
IBU: 22
Body: Medium
Aftertaste: Medium
Price: CAD$ 14.95 (6 × Bottle 341 ml), CAD$ 26.95 (12 × Bottle 341 ml), CAD$ 50.95 (24 × Bottle 341 ml), CAD$ 222.15 (1 × Keg 30000 ml)

Album Review – Not My Master / Disobey EP (2018)

An aggressive mix of Thrash, Groove and Extreme Metal with Southern Rock blasted by a new four-piece act hailing from the always metallic U.S. state of Texas.

It’s time for The Headbanging Moose to head to Texas, the second-largest state in the United States by both area and population where several amazing heavy bands were born such as D.R.I., Devourment, Pissing Razors, Galactic Cowboys and, above all, the mighty Pantera, to slam into the pit to the aggressive mix of Thrash, Groove and Extreme Metal with Southern Rock blasted by a four-piece act that goes by the name of Not My Master. Playing what the band members themselves call Texas Metal, or in their own words, “dirty nasty satanic devil music you would find on Pornhub, if Pornhub played dirty nasty satanic devil music”, Not My Master are releasing their straightforward, vicious and extremely aggressive debut EP, titled Disobey.

Formed in 2016 in the city of El Paso, situated in the far western corner of Texas, the band comprised of Chris Kidwell on vocals, Chelo Styles on the guitar, Rudy Barajas on bass and Charlie Gonzalez on drums has been spreading their “Texas Fuckin’ Metal” throughout the whole state for a while, having already shared the stage with bands like Soulfly, Death Angel, Puddle Of Mudd and Rotting Christ, and also played in festivals such as Zia Music Fest, KILL This Festival, MUDD Fest and HaloHeavy Fest. With Disobey, the band not only aims at solidifying their name in the local Texan scene, but also to spread their ruthless music all over the world, effectively summarizing in its seven distinct tracks what the band is capable of offering to fans of heavy music.

The marching beats by Charlie are gradually joined by the slashing riffs by Chelo and the menacing bass punches by Rudy in the opening track, entitled Acadence, before Chris begins firing some enraged growls in a solid display of Extreme Groove Metal, perfect for fans of bands like Lamb Of God. Then the band keeps pounding our heads with their visceral music in Revenge, with lots of groove flowing from both guitar and bass while Chris switches back and forth from deep, rabid growls to clean, dark vocals, reminding me of the most obscure songs by Pantera (which obviously translates into sheer awesomeness); followed by the acid Where’s God Now, with the guitar lines by Chelo inspiring you to break your neck headbanging, not to mention how the metallic sounds blasted by all instruments increase the impact of Chris’ screams.

Then we have an eerie start to what’s the darkest composition in the EP, titled Morning Star, suddenly exploding into a heavy and aggressive hybrid of Groove and Southern Metal with hints of modern Doom Metal, led by Chris and his demented gnarls, whereas in Lies the raw and dirty guitar lines by Chelo build a demonic atmosphere for the rest of the band to blast hatred and evil in a fantastic display of Sludge Metal. Moreover, the low-tuned bass punches by Rudy sound insanely heavy, bringing even more ferocity to the overall result. And as a “bonus” don’t forget to listen to the two creepy alternative versions of this song on YouTube by clicking HERE and HERE.

Not My Master then treat us with an excellent cover version for How the Gods Kill, by Danzig (check the original version HERE), and on a side note, this classic was also covered by Polish Death/Black Metal project +MROME+ in their 2016 album Noetic Collision on the Roof of Hell (as you can see HERE). With that said, which version do you prefer? In my humble opinion, both kick some serious ass, with Not My Master sounding more melancholic in its first half before becoming a beautiful storm of Southern Metal throughout the rest of the song. And lastly, closing this obscure and very enjoyable EP we have another wicked tune named Consume, a vicious sample of what they call Texas Metal with Chelo burning our skin with his scorching hot riffs while Chris and Rudy sound like an earthquake with their growls and bass lines, respectively.

Are you curious to know more about Not My Master? I surely am, and I can’t wait to see when those Texan metallers will release their first full-length album, kicking everyone in the head with their relentless fusion of Southern and Groove Metal. You can follow Not My Master on Facebook and get to know more about the band members, their tour dates and other details, as well as listen to their music and watch their videos on ReverbNation. High-quality heavy music made in El Paso, Texas is furiously knocking at your door, but be careful because once you open it, there’s no escape from Not My Master’s vicious attack.

Best moments of the album: Revenge and Lies.

Worst moments of the album: None.

Released in 2018 Independent

Track listing  
1. Acadence 4:18
2. Revenge 3:08
3. Where’s God Now 3:49
4. Morning Star 5:15
5. Lies 4:38
6. How the Gods Kill (Danzig cover) 5:55
7. Consume 4:41

Band members
Chris Kidwell – vocals
Chelo Styles – guitar
Rudy Barajas – bass
Charlie Gonzalez – drums


Album Review – Terror Universal / Make Them Bleed (2018)

Behold the rise of the masked fearsome foursome of modern American metal and their bloodthirsty, action-packed debut album.

Comprised of current and former members of rock and metal renowned acts such as Machine Head, Ill Niño, Soulfly and Upon A Burning Body, here comes American Horror Metal masked supergroup Terror Universal, who have been unstoppable since the band’s inception back in 2014, having released their debut EP Reign of Terror in 2015 and shared the stage alongside heavy hitters including Korn, Asking Alexandria, Papa Roach and Fear Factory, among others. Now in 2018 those masked marauders are set to release their debut full-length album Make Them Bleed via minus HEAD Records, an album that can undoubtedly be considered the musical equivalent of a slasher film due to its aggressiveness, tension, lunacy and obviously the distinctiveness and eccentricity of each of the band’s bizarre members.

Snapping from moments of intense sonic bloodletting into menacing melodic mayhem, before creeping back into the shadows to do it all over again, the fearsome foursome Plague on vocals, Thrax on the guitar, Diabolus on bass and Massacre on drums live up to the legacy of modern-day American Alternative and Groove Metal the likes of Slipknot, Mushroomhead, Five Finger Death Punch, Deftones, Disturbed and so on. Produced by the band’s own members and mixed by Eddie Wohl (Smile Empty Soul, Fuel, Ill Niño, 36Crazyfists), Make Them Bleed will become the soundtrack to your most wicked nightmares, blasting your senses with its avalanche of heavy and metallic sounds and noises.

And the monstrous quartet kicks off their freak show of metal with a ferocious tune titled Passage of Pain, where Diabolus and Massacre make sure the ambience remains as heavy, menacing and obscure as possible with their rumbling bass and drums, respectively, while Plague screams and shouts like a true beast. Then in Welcome to Hell (which you can also watch as a guitar playthrorugh and as a bass playthrough on YouTube) Plague sounds utterly enraged, while Thrax transforms his guitar into a bloodthirsty weapon, resulting in the perfect depiction of modern extreme and alternative music made in the USA; followed by Spines, where an electronic-ish intro quickly evolves into a very dark and melodic sonority that could easily be played on any radio station, but still feeling extremely heavy. Featuring guest musician John Moyer (Disturbed) on bass, this can be called “a love song crafted by monsters”, sounding somehow romantic and violent at the same time.

Taking their animosity to a much higher level, Terror Universal bring forth the title-track Make Them Bleed, with the amazing low-tuned punches by Diabolus making the whole song more impactful. Moreover, its neck-breaking rhythm is effectively boosted by Plague’s demented growls, turning it into their personal hymn of sheer rage against everything and everyone, perfect for “spreading the violence” and “fucking the world” as Plague himself screams during the song. Then in Through the Mirrors they engage in their most Slipknot/Stone Sour-inspired mode, with the sick beats by Massacre guiding the musicality while Plague fires his crisp, acid vocals, not to mention Thrax and his cutting riffs; followed by the excellent Dig You A Hole with its gripping pace and vocal lines, enhanced by the fierce circus-like beats by Massacre and the song’s spot-on backing vocals. This is definitely one of the best new Alternative/Nu Metal songs you can find out there, making us bang our heads like maniacs without even noticing together with those four masked beasts.

Featuring the unstoppable Tony Campos (Fear Factory, Ministry, Soulfly, Static-X) on bass, who ends up giving the overall sound an Industrial Metal-like vibe with his crushing bass lines, Dead on Arrival is an excellent option for the band’s live performances to make everyone jump up and down together with them, whereas Into Darkness offers the listener another blast of their modern-day Horror Metal, albeit not as exciting as the rest of the album. Let’s say that it’s not a bad tune, but those freaks of nature sound way too “docile” in this case. On the other hand, their most savage and bestial mode arises in a great explosion of Groove and Thrash Metal named Your Time Has Come, with Thrax and Diabolus leading the carnage with their razor-edged strings, before Piece by Piece concludes the album like a bulldozer, with its metallic sounds penetrating deep inside our ears while Plague alternates between growling like a demon and firing his keen clean vocals.

In summary, if you enjoy modern American metal with an extra dosage of insanity and fury, all wrapped up by the grim and monstrous faces of Terror Universal, you’ll certainly have a good time listening to the music from Make Them Bleed. You can face those four creatures from hell anytime through their Facebook page and YouTube channel, and purchase your copy of the album through their BandCamp page, through their Pledge Music page, on iTunes or on Amazon. Just make sure you’re in good shape and ready to rock to the sound of Terror Universal because, you know, you won’t be dealing with regular people, but with rabid monsters of modern metal eager to taste your blood.

Best moments of the album: Welcome to Hell, Make Them Bleed and Dig You A Hole.

Worst moments of the album: Into Darkness.

Released in 2018 minus HEAD Records

Track listing    
1. Passage of Pain 3:57
2. Welcome to Hell 3:41
3. Spines (feat. John Moyer) 3:18
4. Make Them Bleed 3:32
5. Through the Mirrors 4:10
6. Dig You A Hole 4:35
7. Dead on Arrival (feat. Tony Campos) 3:34
8. Into Darkness 4:17
9. Your Time Has Come 3:21
10. Piece by Piece 3:06

Band members
Plague – vocals
Thrax – guitars
Diabolus – bass
Massacre – drums

Guest musicians
John Moyer – bass on “Spines”
Tony Campos – bass on “Dead on Arrival”


Metal Chick of the Month – Fernanda Lira

Join the army, get in the violent mosh!

There’s nothing better than revving up the engines of 2018 with the thunderous sound blasted by one of the meanest and most humble bassists in contemporary Thrash Metal, a woman who not only kicks some serious ass with her roaring bass guitar, but who’s also an accomplished Extreme Metal vocalist, growling and gnarling like a beast anywhere she goes for our total delight. With that said, please welcome as our first metal chick of the year the stunning and electrifying Brazilian musician Fernanda Lira, better known as the lead singer and bassist for Brazilian all-female Thrash Metal power trio Nervosa. And you better be ready, because Fernanda will accelerate your heart and mercilessly rock you like a hurricane with all her passion for heavy music, her devilish screams and, above all, the groovy wallops of her mighty bass.

Fernanda B. Lira was born on September 9, 1989 in São Paulo, one of the world’s most populous cities with over 20 million inhabitants in its metropolitan area, having discovered her love for heavy music and for playing bass guitar at the age of 13, being influenced by her father, who was also a bass player (and with whom she remembers “jamming” with his acoustic guitar or “playing drums” on the leather couch as a child while he played) and a huge fan of bands like KISS and Venom, and by her biggest idol since childhood, Iron Maiden’s one and only Steve Harris. Furthermore, she never attended classes to learn how to play bass, always using her instincts and utter dedication to develop her skills as a musician, blending all that with her endless energy and aggressiveness to make her playing style truly unique. And despite deciding she wanted to be in a band when she was around 15 years old, Fernanda undertook several other endeavors before becoming (and even when she was already) the frontwoman for Nervosa, as for example studying journalism at Faculdade Cásper Líbero (the oldest journalism school in Latin America), working as an English teacher, and presenting a show called Heavy Nation on Rádio UOL together with her friend Julio Feriato from 2012 until 2015, among other projects.

Highly inspired by the aforementioned Steve Harris and by other renowned bassists such as Geezer Butler, Steve Di Giorgio, Geddy Lee, Ron Royce and Markus Grosskopf, our badass Fernanda eliminated the use of picks and dedicated herself to playing with her fingers, also trying to take down from the bass the function of only “marking” the rhythm of the music. Moreover, regarding her vocal inspirations, Fernanda has always tried to learn how to sing by imitating her metal idols Tarja Turunen, Michael Kiske and Geoff Tate; however, after she started working with more aggressive vocal-inspired bands, she began to migrate to a different style of singing, leaning towards a similar style used by extreme music singers Tom Araya (the iconic vocalist and bassist for Thrash Metal behemoths Slayer) and Schmier (from Teutonic Thrash Metal legends Destruction).

Before joining Nervosa, Fernanda was part of two other Brazilian metal bands, both hailing from the city of São Paulo, those being the all-female Heavy Metal act Hellgard (who played more melodic material the likes of Helloween and Edguy), from 2008 to 2009, and Thrash/Death Metal group HellArise, from 2009 to 2011, playing bass and doing some backing vocals, as well as playing bass live for a comedy Heavy Metal band known as Detonator e as Musas do Metal (which translates as “Detonator and the Muses of Metal”), in 2012. She recorded two demos in her pre-Nervosa era with those bands, one being a three-track demo with Hellgard titled Rise of a Kingdom, in 2009, and a four-track demo with HellArise named Human Disgrace, in 2010, with the title-track being re-recorded and re-released in 2016 already without Fernanda on bass. Apart from Hellgard, HellArise and obviously Nervosa, Fernanda was a guest musician for two distinct metal bands from Brazil in the past few years, Post-Black/Doom Metal act Fanttasma and Thrash Metal titans Torture Squad, and in both cases she acted as a guest vocalist, leaving her menacing bass guitar “dormant”, for lack of a better word. You can enjoy her potent vocals in the songs Metropolis and Life Is War, from Fanttasma’s 2013 album Another Sleepless Night, as well as in their 2014 single Voodoo, and in Torture Squad’s 2013 release Esquadrão de Tortura (throughout the entire album) and in their cover version for Coroner’s Divine Step, released as a bonus track for their 2017 opus Far Beyond Existence. And last but not least, she’s also featured in the song Carcaça de Outro Alguém, together with a band called Fire Strike, as part of a tribute album to the cult Brazilian Horror Punk band Zumbis do Espaço; in a partnership with Brazilian guitarist and producer Denis Di Lallo in a song called Struggle to Survive; and in countless live performances with distinct bands and musicians, like for example playing Slayer’s all-time classic Black Magic with Brazilian Thrash/Death Metal band Desaster.

It’s finally time to talk a little about her career with Nervosa, one of the most promising bands not only in Brazilian metal but in the entire world of Thrash and Death Metal. After quitting her previous bands, our raven-haired growler was already searching for an all-female thrash act when she met guitarist Prika Amaral, who already had Nervosa as a project and was in pursuit of a bassist and singer to bring the band into being, which ended up happening in 2010. And Nervosa have been on a roll since their inception, releasing their debut EP titled Time of Death, in 2012, followed by the full-length albums Victim of Yourself, in 2014, and more recently the underground masterpiece Agony, one of the top 10 metal albums of 2016 from our list. From all those three flammable releases by Nervosa, you can slam into the circle pit together with Fernanda and the girls to the songs Masked Betrayer, Death, Hostages and Guerra Santa (with a nice explanation of what this song is all about by Fernanda herself). As a matter of fact, in one of her interviews, our ass-kicking bassist explained in more details the concept behind Guerra Santa, which is Portuguese for “holy war”. According to Fernanda, this song “talks about all the intolerance that goes on when the subject is religion. Although this is not like a Black Metal song talking against God, Jesus or any religion because I totally respect people’s beliefs. So, this song is not against religion but against the way religion can be harmful sometimes; I mean, religions should be preaching about love, respect, being kind to the next of kin, doing good stuff but sometimes they preach about intolerance against like sexual orientation, races, other cultures – destroying temples of other religions – so what kind of good they bring?”

When asked about the fast and growing success of a relatively young band like Nervosa, Fernanda mentioned that metal is always renewing itself, and everything that’s new in metal, such as three girls playing furious and aggressive Thrash Metal like Nervosa, ends up catching a lot of attention from metalheads all over the world. In addition, she believes that, as part of the process, in some years that’s going to become more natural with more and more girls getting involved with metal. In my humble opinion, I strongly believe their music is what’s really driving their success in the heavy music scene, especially when Nervosa are performing live, and you can get a very good taste of their crushing thrash live in several videos on YouTube, such as the songs Time of Death at Estúdio Showlivre in 2012 in Brazil; Justice Be Done at Seis Tercios Sesiones in Colombia in 2014; Masked Betrayer, Victim of Yourself and Nasty Injury at Ao Vivo no Casarão in Brazil in 2013; and in distinct full live performances like their 2016 concerts in Bulgaria and Serbia, and in special their demolishing concert at Rock Al Parque in 2017, arguably the largest free rock festival not only in Colombia but in the entire continent. And Fernanda loves that life on the road and being on stage, having already visited a lot of different countries and cities, despite the fact she never has enough time to walk around and get to know more about the place she’s playing that night nor about its culture or people.

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As expected, Fernanda has already been asked numerous times how it feels to be an all-female band and about the growing importance of women in metal music. She said that, at the end of the day, we’re all metalheads nurturing the same passion and admiration for Heavy Metal. She complemented by saying she doesn’t really care about being gendered, because in her opinion being called an all-female Thrash Metal band is just a way to describe a specific genre, like Folk Metal, Black Metal, and so on, given the fact that there aren’t many known bands like Nervosa in the market, and although it was a little difficult in the beginning because they’re playing an extreme style dominated by men in a sexist country like Brazil, people are changing their view of women in metal, supporting them, respecting them and encouraging other women to play heavy music. Moreover, she said there’s still a long way to go regarding this matter because there are many conservative metalheads that do not fully accept girls playing heavy music yet, but that’s something metal as a subversive kind of music can certainly change, with fans of heavy music being in their majority very open-minded, intelligent and cultural people. In addition to that, Fernanda said she has always felt like playing only with girls, as she has always dreamed about that and has always been inspired by girls in metal. All her previous bands were all-female groups, and she knew that it was something new that would help her and her bands stand out in metal.

Another interesting topic discussed by our charming growler in some of her interviews is the usage of the Portuguese language in her lyrics, something you can easily find in other heavy music styles like Punk Rock and Hardcore, with amazing bands like the unparalleled Ratos de Porão applying the Portuguese language to their music almost to perfection, but that’s not very common in Thrash, Death and Black Metal. Although Nervosa have two songs in Brazilian Portuguese, those being Urânio em Nós (from Victim of Yourself) and Guerra Santa (from Agony), she said she has always listened to metal in English despite the fact she was born and lives in Brazil, obviously due to the fact most major metal bands sing in English, and that writing lyrics in English is much more natural and easier for her than in Portuguese. And besides, she believes that the English language helps her spread her opinion and ideas much better than Portuguese to a wider audience worldwide (despite the fact that nowadays it’s quite easy to translate anything in any language), making people think, debate, agree or disagree about the topics and subjects contained in her lyrics.

If there’s one thing you can definitely spend hours watching on YouTube, those are several interviews Fernanda gave in both English and Portuguese to the most diverse channels, shows and websites, and in all of them you’ll be able to notice how fun and honest she is not only as a musician but also as a regular human being. I’ve selected a few of those videos for you, including an interview she gave during Nervosa’s performance at Obscene Extreme festival in the Czech Republic in 2015; her chat with the online show From Hero To Zero in 2016 during Nervosa’s European tour with Destruction, where she talks about how difficult it is to make a living out of metal in Latin America, among other topics; and my favorite (and most distinct) of all, Fernanda, together with João Gordo (the idiosyncratic frontman for Ratos de Porão) and vegan chef Willyan Balbino, preparing a vegan twist to a Brazilian popular food snack named “coxinha”, a savory dough shaped into a drumstick around a creamy chicken salad filling then battered and fried, but in this specific case as Panelaço do João Gordo is a vegan show the coxinha was prepared with jackfruit instead of chicken. They obviously talk about heavy music and other stuff, but the star of the show in the end is the jackfruit coxinha (even for a “meatatarian” like myself, those coxinhas look beyond delicious).

And closing our small tribute to the talented Fernanda, when asked about what her recommendations are for bands that are starting their career in heavy music, she said the best option in the beginning is for the bands to promote their music in their homeland, focusing on what’s around them first before going for bigger markets like the USA and Europe. Nervosa have hundreds of thousands of Facebook and Instagram likes, but most of them come from their fanbase in Brazil and the rest of South America. She strongly believes it’s essential to have a huge support from where you come from, with the only issue in their own case being the fact that it’s really hard to make heavy music in Brazil due to the lack of money, opportunities and support from the media. However, as an obstinate metalhead that she is, she believes in the power and unity of metal fans in Latin America, who are always buying albums, merchandise and attending concerts with more intensity than in other parts of the world, being proud of the scene and proudly carrying the flag of Brazilian metal anywhere she goes with Nervosa. And that, my friends, is how you join professionalism and passion in the best possible way.

Fernanda Lira’s Official Facebook page
Fernanda Lira’s Official Facebook fan page
Fernanda Lira’s Official Instagram
Nervosa’s Official Website
Nervosa’s Official Facebook page
Nervosa’s Official Twitter
Nervosa’s Official YouTube channel
Nervosa’s Official Instagram

“All of my best stories and memories are because of metal. I was born and raised in metal. So, all my boyfriends, all my friends, and experiences are related to metal. That’s why I’m so intense on the stage, I feel like I’m living the dream.” – Fernanda Lira


Metal Chick of the Month – Dagny Susanne

Malice, come closer to me!

The month of November in the Northern Hemisphere is always a synonym to colder temperatures and darker days, a sign that winter is coming and that all the happiness and warmth of the summer are long gone and will take even longer to return. Having said that, there’s nothing better than listening to some old school, menacing Scandinavian Black Metal to “celebrate” the Stygian season that’s about to begin, especially if it’s the Black Metal crafted by our metal chick this month, the multi-talented Swedish Valkyrie known as Dagny Susanne, the mastermind behind the top-notch extreme music project Nachtlieder. By the way, Nachtlieder is German for “night songs” or “songs of the night”. Do I need to say more?

Born on September 9, 1986 in Kiruna, the northernmost town in Sweden, situated in the province of Lapland, but currently residing in the multi-cultural Swedish city of Gothenburg where she moved about a decade ago, Dagny Susanne (whose real full name is Karin Dagny Susanne Hansson) mentioned she never had any friends who were into heavy music nor could buy any albums in her hometown because there wasn’t a record store there at that time, being “forced” to download music using Napster with a modem, which obviously made her discovery of metal painfully slow. Furthermore, growing up in Kiruna affected her personality and the way she currently sees things both in good and bad ways, but her interest in metal, in meeting musicians and starting a band motivated her to move to Gothenburg. However, nowadays Dagny feels a little nostalgic when talking about her beloved Kiruna, saying that not only it’s a beautiful and serene place, but it also inspires you to work, clearing your head and putting you in a good state of mind due to its calmness and distance from bigger cities like Gothenburg and Stockholm. For instance, just to give you an idea of how isolated Kiruna is, Luleå, the biggest town in the same region, is nothing more, nothing less than three hours away from it.

Since 2008, Dagny has been embellishing the world of extreme music with her Black Metal outlet Nachtlieder, being responsible for the songwriting, the lyrics, all vocal parts and pretty much all other instruments except for the drums, played in almost all her releases by her longtime friend Martrum (also known as Dödsdyrk, from bands such as Minion and Wicked). After the release of two demos in 2009 and a promo album in 2010, Dagny and her Nachtlieder became a much bolder and intense entity after unleashing upon humanity the full-length albums Nachtlieder, in 2013, and more recently The Female of the Species, in 2015, with the latter having the Biblical character of Eve, the female of the species, as the central character in the album’s narrative as mentioned in our review for the album. However, the original idea of the album was taken from the book “The Female of the Species”, by American writer Joyce Carol Oates, a collection of novellas about women committing different acts of violence for various reasons, slightly changing to the narrative about Eve after Dagny began to reference the phenomenon of “Satanic feminism” where Satan, a symbol for liberation, is also used as a feminist icon in her lyrics. In addition, Dagny said that, as she used to work in a public library, she reads a lot and that has a significant influence on her lyrics (but not on her music, thought), starting with small text fragments before coming up with what the lyrics should be about.

If you want to take a good listen at the music by Dagny and her Nachtlieder, I highly recommend you go to BandCamp, YouTube or Spotify to do so, being suddenly embraced by her visceral Black Metal such as in the excellent songs Eve, Beyond Death, Leave the View To the Rats and A Meager Escapism. The only “issue” with Natchlieder is that you won’t be able to find any live material or footage online, as Dagny hasn’t been able to form a full-bodied band yet. She obviously wants to perform live some time, but there are a few barriers to that such as the availability of musicians in her circle of friends that would be willing to play her music, and if those musicians would be reliable enough to replicate her music to an acceptable level to her.

Prior to becoming Nachtlieder, our Swedish black metaller was the bass player for Gothenburg-based Death/Black/Thrash Metal band Wicked from 2006 to 2010, having recorded with them a demo titled Chaos in 2007, the single Gospel of Sickness in 2009 and the split album Abominations, Chaos and Bestial Warfare in 2009 together with the bands Adokhsiny, Land of Hate, Надимач and Wargoatcult. She mentioned that she learned a lot from that time as it was her first extreme band, in special about arrangements and the role of the bass guitar in a band. The band unfortunately disbanded after their lead singer moved out of town with his family, but all three members are still friends and try to meet as much as possible whenever they’re in the same city. Apart from Wicked and obviously Nachtlieder, you can find Dagny in a couple of bands and projects as a guest musician, being the bassist and guitarist for the 2016 album Winds of Transilvania, by American/Swedish Black Metal project Nattsvargr (led by American vocalist Noctir); and doing some vocals and violin for a German Ambient Black/Doom Metal band named Black Autumn.

Dagny also has a very interesting (and obviously strong) connection with Black Metal from her homeland, having discovered the genre in her teens and consequently listening to Swedish bands for hours and hours, in special her favorite of all, Dissection. For instance, she mentioned that Dissection’s first gig after guitarist, vocalist and main songwriter Jon Nödtveidt (R.I.P.) got out of prison was the first big concert she ever went to. When asked about the general concept of cold and dark winter days being the reason why Scandinavian Metal is so unique, our Swedish diva said that there are of course bands that succeeded in portraying the extreme conditions and contrasts that exist in the northern parts of Scandinavia through their music, but that you can also see a significant difference between the metal scene in Norway, Sweden and Finland. Furthermore, when asked what defines Black Metal as a genre, Dagny said that when she wrote her bachelor in musicology about Black Metal she tried to identify the elements that define the music, finding that certain intervals were used both in chord progressions and melodies, therefore making Black Metal a music style for her no matter what the lyrical content is. For example, she said that if Black Metal is all about Satanism as several people think, then a band like Immortal, one of the biggest and most influential exponents of the genre, wouldn’t be Black Metal.

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As usual, I love to know about our metal girls’ opinions about women and sexism in the metal universe, and Dagny has a strong position about those topics, especially for playing a music style vastly dominated by men. First of all, she mentioned that gender isn’t the only thing that matters, citing other details such as age, profession, place of birth and residence and ethnicity, among others, as reasons why different people doing the exact same thing will certainly receive very distinct feedback from the society. However, she said she has already faced some not-so-subtle sexist comments directly to her face such as “chicks can’t play”, as well as the feeling of not being fully respected by guys whenever she was the only woman in the group. In addition, she said that although she doesn’t know for sure why the number of one-woman Black Metal bands is extremely low compared to one-man Black Metal projects, she feels that it might be due to the different networks between men and women and the conscious and subconscious differences in social sex. “From the day we’re born we’re not encouraged to do the same things and this includes the music we should listen to and perform and the instruments we should play”, said Dagny. Also, she thinks the well-established expression “’female-fronted metal” (which I confess I end up using quite often i my reviews and discussions) doesn’t really make sense at all, like the term “female vocals” instead of “clean vocals” when the singer is not a man, and that applies to Nachtlieder as very few people would associate those expressions with the type of music she plays.

As any musician in our modern-day society, Dagny also has to deal with illegal downloads of her music, but she doesn’t see those as a huge threat to music in general as many others do. She said that the biggest trouble for artists like her concerning illegal downloading is that they can’t keep track of their listeners, and knowing who her listeners are and that there are people out there who appreciate her music is always a boost to her creative process. She thinks that people who can afford it should prioritize paying for their music consumption, and the ones who can’t pay for it should at least be part of an informal “marketing campaign” by sharing the bands’ Facebook and BandCamp pages, leaving positive comments on YouTube, among other small but meaningful acts. The only thing that really bothers her in this case is when an album leaks before the release date, as she finds that really disrespectful towards the hardworking labels and artists. Furthermore, Dagny also considers the way music is shared by fans on the internet extremely positive for independent artists like herself, saying that for example fan initiatives like the Facebook community Death Metal Girls and the YouTube series The Female Vocalists of Extreme Music are great options for headbangers who want to broaden their knowledge of female artists in metal.

Lastly, one might think that a musician like Dagny, coming from the northernmost part of Sweden and playing the ominous Black Metal by Nachtlieder, must draw most or all of her inspiration in the night, but in reality that’s not what happens to her during her creative process. Dagny said she’s inspired by her instrument and what she’s playing at the moment, with the calm and relaxed feeling from the middle of the night being of course something she loves but that due to her working schedule is not something she can fully enjoy anymore. For instance, one of my favorite songs from The Female of the Species, the fantastic Nightfall, was written at night and had parts of its lyrics inspired by the first part in the Arnold Schoenberg opera Pierrot Lunaire, also known as “Moonstruck Pierrot”. I guess everyone reading this tribute to Dagny has already gotten “moondrunk” in life, feeling dizzy or lightheaded after staying awake for an entire night, but of course very few of us are capable of delivering such vibrant and captivating music by ourselves like this high-skilled woman who left her hometown, the distant city of Kiruna, to conquer the world of extreme music with her undisputed, raw and totally awesome Black Metal.

Nachtlieder’s Official Facebook page
Nachtlieder’s Official YouTube channel
Nachtlieder’s Official BandCamp page

“My own purpose with feminism is not to blame the trouble in the world on a specific group of people, but to raise the questions. Make people think about how they treat others and why. It’s all about recognizing human value, in the metal scene, but most of all outside of it. I’m certainly responsible too and no one is without flaws. We’re all products of the societies we live in.” – Dagny Susanne


Album Review – BloodBlind / BloodBlind EP (2017)

Mixing a punk attitude with metal music, a group of four Finnish musicians are ready to rock the world with the flammable amalgamation of different styles and ideas found in their debut album.

Mixing a punk attitude with metal music, a group of four musicians from Helsinki and Joensuu (a city and municipality in North Karelia in the province of Eastern Finland), has been working together for the past two years to give life to Melodic Thrash/Punk Metal entity BloodBlind, bringing their own influences to the mix and therefore creating a very unique sound. The result of that amalgamation of styles and ideas can be better appreciated in their debut self-titled EP, comprised of three electrified compositions that will help spread the word of BloodBlind throughout the world of independent heavy music.

The young and restless BloodBlind, formed by Tommi Kokko on vocals, Antti Kalliomäki on guitars, Janne Saksola on bass and Frank Fagerström on drums, were responsible for all of the production, visuals and themes found in the EP, with only some external help used in the mixing process. With their first release out, the band is gearing up to take to the stages and setting up to record their first full-length in a proper studio, but before that happens I highly recommend you open up some space in your room to bang your head and jump up and down to the invigorating and acid music offered in the EP by those four metallers who certainly know how to put the words “punk” and “metal” together in a compelling way.

Janne ignites the opening track Fuel for Fury with his heavy-as-hell, low-tuned bass punches, with the sound evolving to a blend of Thrash, Groove and Punk Metal led by the enraged growls by Tommi, while Antti makes sure the music remains as sharp and hostile as possssible with his riffs and solos. In the following tune, Will to Fight (featuring gang vocals on chorus by Finnish Thrash Metal band Maniac Abductor), BloodBlind deliver an anti-bullying message (“never give up, never give in”, says the band), joining in on the campaign against online bullying. With a stronger Rock N’ Roll vibe and endless electricity, Tommi’s screams sound even angrier than before (for a good reason), leaning towards Melodic Death Metal and Metalcore-like vocals, while Antti and Frank dictate the rhythm in this obscure anthem destined to be their biggest hit without a shadow of a doubt. And last but not least, we have another blast of Thrash and Punk Metal united with hints of Metalcore in Cancer of Society, a mid-tempo aggressive tune with highlights to the once again pounding beats by Frank and the menacing bass lines by Janne, not to mention the soulful solos by Antti and the flammable sounds emanating from both guitar and bass during the whole song.

In a nutshell, BloodBlind definitely succeeded in delivering exciting metal music through their short and sweet self-titled EP (which can be listened in its entirety on on YouTube or on Spotify), and if you want to show your support to this promising band go check their Facebook page and YouTube channel, and buy a copy of the album on BandCamp, on iTunes or on Amazon. There’s no doubt that those Finnish metallers are ready to rock the world with their thrilling music, proving one more time that talent and hard work, when properly put together, always result in something good.

Best moments of the album: Will to Fight.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Fuel for Fury 3:59
2. Will to Fight 4:53
3. Cancer of Society 4:21

Band members
Tommi Kokko – vocals
Antti Kalliomäki – guitars
Janne Saksola – bass
Frank Fagerström – drums

Guest musician
Maniac Abductor (band) – gang vocals on “Will to Fight”


Album Review – Exodus / Tempo of the Damned (2004)

Thirteen years ago Exodus returned with another incredible lesson in Thrash Metal.


Tempo of the DamnedSometimes excellent bands go on a huge musical hiatus due to unforeseen reasons, making their fans at the same time really sad and anxious for a possible return someday. However, some of those bands return with very low-quality material and the damage to their careers is almost incurable, as for example what happened with the disappointing comebacks of Running Wild, with the weak album Shadowmaker, and Guns N’Roses, with the controversial Chinese Democracy.

Fortunately, that’s not what happened to Thrash Metal masters Exodus. Quite the contrary, when they got back to life with their first new album since the interesting Force of Habit, from 1992, they kicked some serious fuckin’ass. Tempo of the Damned might not be the best Thrash Metal album in the history of music, but it’s probably the best of the past two decades in terms of creativity, riffs, and of course, violence. With the return of Steve “Zetro” Souza on vocals, Tom Hunting smashing his drums, and especially an inspired Gary Holt absolutely on fire, Tempo of the Damned is the epitome of what’s best in modern Thrash Metal.

Are you ready for a sonic massacre? Well, the first track, Scar Spangled Banner, is even more than that. For over 6 minutes, we have a perfect representation of the “new” Exodus: extremely politicized and intelligent lyrics (“We the people, for no people / Secure the blessings of tragedy / Do ordain we have established / The scar spangled banner”), awesome riffs and solos, creative variations, and a lot of speed. The second track of this brilliant album, War Is My Shepherd, is another fuckin’ carnage, perfect for an intense mosh pit with Zetro doing a pretty good job on vocals.

Then we have the incomparable hit Blacklist, my favorite track of the album and certainly on my top 5 songs in the history of Exodus, with the best vengeful lyrics in Heavy Metal (“You’d better start runnin’ / Cause you know that I’m comin’ / Cocked and loaded and I never miss / I’m onto your game / And I’m layin’ the blame / And I’m addin’ your name to my blacklist”) and a riff that is beyond perfect for banging our fuckin’ heads until we drop. Shroud of Urine keeps the album at a high note, followed by another pure Thrash Metal song called Forward March, where Gary Holt and Rick Hunolt deliver us some truly amazing solos.

Culling the Herd is slower than the previous tracks (maybe for us to take some air), but it is also a great Thrash Metal song. The shortest song of the album, Sealed with a Fist, focus on all the “beauty” of marriage and it’s highly recommended for a friend’s wedding if you like to play pranks on people. The next track, Throwing Down, shows us why Gary Holt is one of the most underrated riff masters in the world, with outstanding riffs and solos. Seriously, when are people going to recognize Gary’s unparalleled contribution to the world of music?

Exodus2004The album ends with the good song Impaler (written by Metallica’s own Kirk Hammett, and it should have been feature in Bonded By Blood if Kirk Hammett hadn’t taken its main riff with him to be used on “Trapped Under Ice”), and the title-track Tempo of the Damned, which can be called a “musical beast” due to its boisterous rhythm, crazy riffs, fast percussion, and of course its very controversial lyrics paying a “tribute” to all types of religions and churches. And if your neck is still attached to your body when this brutal song is over and you have the special digipack version of the album, you can relax and enjoy a very nice cover for AC/DC’s classic Dirty Deeds Done Dirt Cheap, where Zetro simply nailed it with his visceral voice.

Finally, did you notice the length of the songs in Tempo of the Damned? Most of them surpass the 5-minute barrier, something unimaginable for almost all Thrash Metal bands in the world, with some songs having even over 7 minutes. That’s why after this album was released many people started calling Exodus as the “Pink Floyd of Thrash Metal”, and also fans started demanding that Exodus were included in the “Big 4”, making it more like a Big 5 (or even a Big 6 with Testament included too), due to the undeniable quality of their music. I honestly don’t care if they make it a Big 5 or Big 6; what really matters to me is that Exodus keep on delivering us many more “lessons in violence” such as Tempo of the Damned in their career.

Best moments of the album: Scar Spangled Banner, Blacklist and Tempo of the Damned.

Worst moments of the album: It’s hard to choose a bad song in the album, because there are none. I would select Impaler as the “least amazing” tune, though.

Released in 2004 Nuclear Blast

Track listing
1. Scar Spangled Banner 6:41
2. War Is My Shepherd 4:27
3. Blacklist 6:17
4. Shroud of Urine 4:52
5. Forward March 7:32
6. Culling the Herd 6:07
7. Sealed with a Fist 3:36
8. Throwing Down 5:01
9. Impaler 5:25
10. Tempo of the Damned 4:22

Digipack bonus track
11. Dirty Deeds Done Dirt Cheap (AC/DC cover) 3:52

Band members
Steve “Zetro” Souza – vocals
Gary Holt – lead and rhythm guitars
Rick Hunolt – lead and rhythm guitars
Jack Gibson – bass
Tom Hunting – drums


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

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


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

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

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

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

Holy Wars… The Punishment Due

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


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

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

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

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

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

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

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

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Album Review – Helslave / Divination EP (2017)

Prepare yourself for a grim and murky fusion of old school and modern Swedish-inspired Death Metal by five Italian troopers in their path of destruction and killing.

Formed in 2009 by guitarist Jari, Italian Death Metal act Helslave is a Rome-based band taking its influences from the 90’s Death Metal and Melodic Death Metal Swedish scene, adding their personal twist to generate a mix of old and modern school metal music. After releasing a self-titled demo in 2010, followed by the EP Ethereal Decay in 2013 and their first full-length album An Endless Path in 2015, the band started playing shows all over Italy and Europe, sharing the stage with acts such as Grave, Asphyx, Havok, Hideous Divinity and Destroyer 666, also appearing at Metaldays in 2014, keeping themselves busy and always charged up to continue their path of destruction wherever they go.

In the beginning of the year, Helslave entered the studio to record a brand new EP titled Divination, comprised of four brand new tracks leaning towards darker and heavier sounds, playing their already traditional Swedish-inspired Death Metal in the vein of Grave, Entombed and Desultor, all embraced by the devilish artwork designed by Misanthropic Art. Prepare yourself for grim and murky old school Death Metal, the kind of stuff that doesn’t rely on triggered blast beats, light-in-the-loafers warbling, or anything but the crudest building blocks to construct its killing art. Hence, although Divination lasts for only around 16 minutes, that’s more than enough for Helslave to crush your spine mercilessly.

In the opening track, beautifully titled Summoning The Eternal Eclipse, an ominous intro morphs into sheer devastation by Jari and his henchmen, with drummer Francesco Comerci dictating the song’s demented rhythm in a solid display of Swedish Death Metal. In addition, newcomer Diego Laino and his Unleashed-inspired vocals keep the song’s ferocity at an extremely high level, perfect for declaiming the song’s menacing lyrics (“Silence falls, it freezes all around / the arrival of divine / ancestral ritual summon
/ Blinding lights, no human eye can see
/ let the plague fall on the weak”). And there’s no time to breathe, as the band rises from the pits of hell with another brutal carnage named Lord Of Lies, presenting old school, visceral Death Metal with hints of other extreme genres such as Black and Thrash Metal to add more dynamism to the musicality. The guitar duo Jari and Lorenzo Fabiani are simply fantastic, blasting scorching, darkened riffs through their instruments, not to mention the intricate beats by Francesco in this ode to obscurity.

In The Spawn Of Astaroth, the band slows things down a bit, but that doesn’t mean they don’t fire truly dismembering riffs and beats, with Diego growling like a beast while Francesco and bassist Luca Riccardelli maintain a dense ambience in the background. Moreover, the final guitar lines exhale pure Black Metal, not to mention the song’s insurgent lyrics (“The fate of a great battle / has to be faced / an indomitable army has to be defeated / We are the ones who walk the left hand path / As written in the blood of the prophecy / The only way to conquer this land”). And Desecration, their last spawn of vicious Death Metal, is fast, demonic and amazingly neck-breaking, again presenting traditional piercing riffs and solos by Jari and Lorenzo as well as the complex and vibrant drumming by Francesco, being highly recommended for fans of Unleashed and Obituary.

You can take a full listen at Divination on YouTube, and follow Helslave through their Facebook page, YouTube channel, ReverbNation and SoundCloud. And if you want to show your true support to high-end underground Death Metal, you can purchase the EP at Helslave’s BandCamp or Big Cartel, at the Black Market Metal’s Big Cartel, or at Discogs. The only “issue” with Divination is that it’s only 15 minutes long, but as aforementioned that doesn’t stop Helslave from shining and destroying with their unrelenting Death Metal, leaving us eager for more kick-ass extreme music by this hardworking Italian squad.

Best moments of the album: Summoning The Eternal Eclipse.

Worst moments of the album: None.

Released in 2017 Black Market Metal

Track listing
1. Summoning The Eternal Eclipse 4:08
2. Lord Of Lies 3:32
3. The Spawn Of Astaroth 3:43
4. Desecration 4:35

Band members
Diego Laino – vocals
Jari – lead guitars
Lorenzo Fabiani – guitars
Luca Riccardelli – bass
Francesco Comerci – drums