by Chris Wheeler | Avr 14, 2014 | Critiques, Critiques de Shows
It has been a few years since the last time Liverpoolians, CARCASS, set foot on Canadian soil to wreak havoc upon the ears of diehard Grind Metal fans. With Decibel Magazine’s annual tour, Metal maniacs new and old finally got to see the English legends as well as newcomers, NOISEM, local’s own Metal Gods, GORGUTS and Metal stewards, THE BLACK DAHLIA MURDER. Rest assured, the crowd got what they paid for!
Looking quite empty upon entry, 7:00pm at the Metropolis brought in a select few fans to witness the opening set from Baltimore’s NOISEM. Replete with pounding, non-stop aggression, fury and young angst, the foursome charged through material from their debut record, « Agony Defined« . Looking quite like a wild animal at feeding time, singer Tyler Carnes paraded back and forth on the stage belting out caustic vocals against a backdrop of blast beat noise! With little stage banter between songs, the set adhered to a « workmanlike » ethic/blue-collar patronage where the band let their brand of Death/Thrash speak for itself. Periods of gang vocals recalled early crossover Metal while guitarists, Harley Phillips and Travis Stone traded leads effortlessly. As the crowd filed in throughout their set, the response grew in measure to finally explode in applause for a band whose youthful exuberance and passion will certainly garner NOISEM a promising future.
Legends in their own right, GORGUTS have already achieved « cult » status after releasing their seminal album, « Obscura » back in 1998. Fast forward to 2013 and the band have upped the ante with « Colored Sands« , an album whose songs were performed with vigor and strong determination. Highly technical and brutal, the set featured wave upon wave of aural cacophony which seemed to transport the audience to another realm of musical understanding! Quickly establishing a vicious thrash pit, guitarist/vocalist Luc Lemay and co. also acknowledged crowd support by playing older gems, « Orphans of Sickness« , « The Carnal State » and « Obscura” to end the bulldozing act! Stationary in their movements, GORGUTS focused on disjointed chords and jarring notes as tension rose to an enthralling climax, particularly on « Colored Sands« . While humble and ever thankful for fan enthusiasm, Luc Lemay was noticeably beside himself as he left the stage smiling from ear to ear… a testament to the reason why GORGUTS is loved so much by local fans!
Though not particularly a huge fan of THE BLACK DAHLIA MURDER’s brand of « core » inspired Metal, the American band from Michigan DID perform a solid set inciting huge circle pits and headbanging in delight. With loads of eye contact and singling out fans in the audience, singer, Trevor Strnad unleashed Hell and even went so far as to urge fans « to have fun! » (Gasp, at a Metal show?!!!) Stripping off his t-shirt, Strnad figured as a rabid animal trapped inside a cage while guitarist Ryan Knight proved that the band do include traditional Metal stylings, particularly in his leads. With shouts of « Hey! » resonating throughout the venue, THE BLACK DAHLIA MURDER positively conquered the crowd ending the performance with « I Will Return« . No matter how great they are live, and they are very adept in what they do. Unfortunately, their music leaves this reviewer cold….
With the crowd literally chomping at the bit, CARCASS stormed the stage with « Buried Dreams » and was prepared to « dissect and eviscerate » fans playing a plethora of songs new and old spanning their entire career. Ever the comedian, bassist Jeff Walker played to the crowd with dry wit in between songs, « Forensic Clinicism/The Sanguine Article« , « No Love Lost« , « Reek of Putrefaction« , and « The Master Butcher’s Apron » all to a resounding cheer! Sounding pristine and calculating, the foursome ran the gamut of classics, some of which exploded into a fury of mob chaos, especially « Corporal Jigsore Quandary » and « Heartwork« . Regaling the crowd with self deprecating humour, Walker introduced more « rockier » numbers from ‘95’s « Swansong » asking the venue’s security to « lock all the exit doors » before plunging into a small medley of « Black Star » and « Keep on Rotting in the Free World« . Surprisingly, Walker commented with a smile, how much the crowd went berserk to those seemingly « unpopular » tunes. In fact, CARCASS held the entire audience in the palm of their hands as images of grizzly autopsies adorned two screens on stage. Captivating as they may have been to many, some in attendance stood stunned during « Genital Grinder » as an infected penis, larger than life, inspired gapping mouths and shock, especially in the women looking on in disbelief…. With Decibel’s annual tour becoming an event to look forward to, fans this night were treated to a barrage of dissimilar Metal bands playing with purpose and diehard enthusiasm, leaving the audience enthralled. A night to not soon forget, thanks be to Decibel Magazine for making such tour package dreams a reality!
Chris
by Chris Wheeler | Avr 8, 2014 | Critiques, Critiques de Shows
Black Sabbath Show with Special Guests, Reignwolf at Bell Centre
April 7th, 2014.
** La traduction française, réalisée par Lex, se trouve à la suite de la version originale anglaise.
Opening for a band as legendary as BLACK SABBATH can be a daunting proposition for even the most seasoned musicians, but as the Montreal Bell Center slowly packed in its patrons, REIGNWOLF pulled out all the stops and impressed the audience far more than perhaps THEY could have imagined.
Consisting of the classic “trio line-up” of bass, guitar, drums, Canadians, REIGNWOLF made no apologies for the blues inspired groove and classic rock stylings of their music. Though the song material is nothing new, the performance this night turned heads and opened eyes and ears! Singer, Jordan Cook displayed a swagger and confidence as he effortlessly wailed on his guitar, languishing in the solos he meticulously rang out. Seemingly stealing spotlight away from the bassist and drummer, Cook reveled in showmanship, parading about the stage simultaneously playing the guitar, drums and tackling vocal duties as well! The show was so “over the top” that the band should be renamed, «JORDAN COOK and REIGNWOLF»! « Electric Love » reminded one of a typical Jack White moment, hell bent on feedback, wild soloing and guitar effects while « Mandolin’s » intro and rhythm recalled the trappings of U2’s, The Edge and his contribution to the guitar. All in all, REIGNWOLF exhibited a set of ordinary songs, albeit with a singer that maybe overcompensates slightly for the unoriginality of the material.
Not too long a wait between sets, the darkened arena was met with a familiar bellow,
Are you fuckin’ ready?
As the curtain rose, « War Pigs » rang out and shook the rafters as Ozzy, Iommi, Butler and newcomer on this tour, drummer, Tommy Clufetus, took to the stage to deliver hit after hit after MASSIVE hit! No expense was spared in delivering the goods. No pyrotechnics were incorporated, nor were there any gigantic «Stonehenge models» adorning the stage (save for a video backdrop that accompanied each song). No, this evening focused squarely on the music and the command of four men on a stage doing what they do best….entertain and play HEAVY FUCKIN’ METAL! Ozzy, as energetic as any man approaching 70 years old could be, pranced and jumped around the stage like a giddy child Christmas morning, shouting trademark cries, «Clap your fuckin’ hands», «C’mon», and «I love you all»!!! Never missing a beat the solid bass laid down by Butler was flawless as the instrument could clearly be heard up in the grey section of the Bell Center while the blues stylings of Iommi’s rhythms and solos cut through the air perfectly! Clufetus’s drumming was manic and unbridled, pounding each beat with ferocity and purpose. However, the drum solo may have been a little lengthy and unnecessary given the fact that key songs were not added, like « Sweet Leaf » and « Sabbath, Bloody Sabbath« . (tisk, tisk.)
Still, England’s foursome (+1) firmly ripped into classic, well-tread numbers, « Into the Void« , « Snowblind« , « N.I.B« , « Behind the Wall of Sleep« , « Fairies Wear Boots » and « Iron Man » all incredibly calculated and still vibrant as though the year was 197ty something! Latest album, « 13« , got a few of tracks played in « End of the Beginning« , « Age of Reason » and of course, « God is Dead« , while even uncommon songs were called forth too, such as « Technical Ecstasy’s » « Dirty Women » from 1976. With the chime of bells and rain effects cascading down upon the audience, the powerful and frighteningly creepy, « Black Sabbath » garnered a huge applause along with « Children of the Grave » and show encore, mega hit, « Paranoid« !!! Truly, if there’s any band, in ANY genre of music that can continuously tour vigorously, release relevant music and display longevity unmatched by many, BLACK SABBATH certainly can…and they did….
Ouvrir pour un groupe aussi légendaire que BLACK SABBATH peut être intimidant même pour les musiciens les plus chevronnés, mais comme le Centre Bell accueillait tranquillement son lot de fans, REIGNWOLF ont sorti tous les trucs nécessaires pour impressionner l’audience, peut-être même plus qu’ils ne l’auraient imaginé.
Formé du trio basse/guitare/drum classique. les Canadiens, REIGNWOLF n’ont pas eu à s’excuser pour la facture classic rock aux grooves bluesy de leur style musical. Au contraire, bien que leur matériel n’est rien de neuf, leur performance a fait virer bien des têtes et ouvrir des yeux et oreilles. Leur chanteur, Jordan Cook, affichait juste assez d’arrogance confiante pour faire gémir sa guitare pendant qu’il se languissait dans les solos qu’il extirpait sans effort et surtout avec dextérité. Il volait vraiment la vedette à ses comparses à la basse et au drum, révélant une belle aisance sur scène alors qu’il paradait d’un bout à l’autre du stage en jouant de son instrument, aussi un peu de drum et faut pas oublier qu’il chante aussi. Sa performance était tellement over the top que son groupe devrait être renommé «JORDAN COOK and REIGNWOLF»! « Electric Love » pouvait faire penser au style typique de Jack White (The White Stripes), plongé dans un enfer de feedbacks, de solos sauvages et d’effets de guitares pendant que l’intro et la section rythmique de « Mandolin » rappelait la touche de The Edge de U2. En fin de compte, REIGNWOLF ont offert un set de pièces ordinaires mais avec un chanteur qui a plus que compensé pour le manque d’originalité des compositions.
Sans trop tarder entre les 2 groupes, on a fini par entendre un cri familier rugir dans l’amphithéâtre plongé dans la noirceur,
Are you fuckin ready?
Alors que le rideau se levait, « War Pigs » s’est fait entendre galvanisant la foule pendant que Ozzy, Iommi, Butler et le nouveau venu pour cette tournée, le drummeur Tommy Clufetus, s’emparaient de la scène pour nous envoyer hit par dessus hit par dessus SUPER HIT! Y’ont pas niaisé avec la puck. Aucune pyrotechnie ou de décor à la Stonehenge (sauf pour la projection vidéo sur l’arrière-scène qui accompagnait les pièces). Non! La soirée était centrée sur la musique sous le contrôle des 4 gars sur la scène qui nous faisaient ce qu’ils font le mieux… nous entertainer et joué du HEAVY FUCKIN’ METAL. Ozzy, paraissant à peine approché les 70 ans, gambadait et sautait comme un enfant le matin de Noël, en lançant ces cris qui l’identifieront pour toujours, «Clap your fuckin’ hands», «C’mon», et «I love you all»!!! Solide comme un métronome, je peux dire que Butler a été sans faille puisque son instrument s’entendait clairement en haut dans la section «grise» du Centre Bell pendant que le style bluesy de Iommi et ses solos fendait l’air parfaitement.Le jeu de batterie de Clufetus était déchaîné, frappant autant avec férocité que volonté. Cependant, le solo de drum a peut-être été long et même peut-être pas nécessaire considérant certaines pièces telles « Sweet Leaf » and « Sabbath, Bloody Sabbath » ont été laissées de côté. (tisk, tisk.)
Bien sûr, le quatuor anglais a solidement enchaîné les classiques, « Into the Void« , « Snowblind« , « N.I.B« , « Behind the Wall of Sleep« , « Fairies Wear Boots » and « Iron Man« , dans un set bien calculé, des pièces toujours aussi vibrantes même si l’année était 197…kek chose! Ils ont également joué quelques pièces du dernier album, « 13 » soit « End of the Beginning« , « Age of Reason » et bien sûr, « God is Dead » et dépoussiéré des pièces plus inattendues comme « Dirty Women » de l’album « Technical Ecstasy » de 1976. Au tintement des cloches et bruits de la pluie qui s’abattait virtuellement sur nous, la puissante et oh combien creepy « Black Sabbath » a débuté sous un tonnerre d’applaudissement tout comme « Children of the Grave » et bien sûr le rappel, le mega hit « Paranoid« !!! Vraiment, s’il y a un groupe, tout styles musicaux confondus, qui peut continuer à faire des tournées énergiques et électrisantes, sortir des albums pertinents et démontrer une longévité incomparable, et bien Black Sabbath répond certainement à ces critères… et nous l’ont prouvé…
by Chris Wheeler | Avr 5, 2014 | Articles Divers/Primeurs/Annonces, Entrevue
Playing in an honorable slot as headliner on the second day of the St. Patrick’s Weekend Punk Rock show, UK’s MENACE drummer, Noel Martin and guitarist, Finn Panton gleefully surveyed the premises, taking in all the palpable energy the first night provided. Fortunate enough to meet the two Englishmen, I sat down with them to discuss the early days of the band, the highs and lows of their career and what the future holds.
When did MENACE actually begin their Punk/Rock path and who were some of your early inspirations?
Martin: We started in 1976. We were friends attending the same school and met Morgan Webster, the singer who was in Toronto, Canada, at a popular pub. We were signed right away when we played a gig at the Roxy. Unfortunately, Morgan died in 1991. MENACE eventually split up in 1979 but managed a sort of cult-like following with « Last Year’s Youth » and « Carry No Banners« , two songs that really pushed the band forward. However, being a «Street Punk» band certainly lends itself to controversy as some of their material had been banned and as a result, the record companies decided to pull their support, thus ending the first incarnation of the band. Oh I’d say Ian Paiste from Deep Purple, Zeppelin’s John Bonham and of course THIN LIZZY were of great importance to me back then.
Panton: We were influenced from lots of bands playing at the time from those around us to the U.S. bands as well.
Since its inception, how has the band’s sound changed over the years?
Panton: It hasn’t really. We still play old school Street Punk.
Martin: Right, we still play the same style but of course we’ve gotten better as musicians along the way.
What are some of you fondest memories/stories through the years?
Martin: We have quite a lot. Most probably the gig we played at CBGBs two days before September 11th.
Panton: Oh yeah, it was a very poignant moment for us.
Martin: Well that and seeing my first born son being born. We actually carved his name into our first single with The ACES in celebration of the birth. It was called, « One Way Street« .
Panton: I remember when MENACE broke up and some of us joined with Vermillion (female biker) to form The ACES from 1980 to 1984, we were privy to what THE POLICE were doing and at one point they were recording « Roxanne » in Leatherhead (a small town in Surrey, England) and we thought, «Nah, they’ll NEVER make it with THAT song!» (laughing)
So how does the latest album, « Too Many Punks Are Dead » compare to those records so many years ago?
Martin: (laughing) Well, like we said, our playing has gotten a lot better!
Panton: Yeah, but I think we’ve written two very «iconic» songs, in « Fuck You » and « Vote Punk Rock« .
Finally, how do you see the future of MENACE in 10 years?
Panton: (laughing) I’ll be dead! No, probably still playing. I have two illnesses, 1) Rock n’ Roll and 2) something I won’t talk about here. (smiling)
Martin: Most likely, we’ll continue playing and performing. With MENACE headlining the Montreal, St. Patrick’s Weekend gig, there’s no doubt fans have emerged to see the legends perform after so many years. As the world is in the state that it’s in, there will always be room for the youth to find a way to « tell it like it is » in no uncertain terms. This is the essence of Punk, the essence of rebellion, the essence of MENACE…
by Chris Wheeler | Avr 4, 2014 | Critiques, Critiques d'Albums
Ad Extirpenda
« Cathartic«
Independent
2014
France has long been a country with minimal « metallic » allusions compared to Scandinavia, England or the U.S. but has maintained its fair share of quality bands! AD HOMINEM, ANOREXIA NERVOSA, GOJIRA and ALCEST may be in one’s top « go to bands » when discussing France’s contribution to the genre. Enter, AD EXTIRPENDA, the latest French troupe to stain Metal’s unholy altar with « Cathartic« , their debut album out this year! Focusing on a melodic blend of Blackened Death, the sextet is primed to make their mark, but will this album be enough to convince the genre’s critical ears?
Proceeding after a symphonic intro immediately sparking interest, AD EXTIRPENDA manages to arrive at very familiar grounds where melodic riffs and gentle atmosphere grace just about every song on « Cathartic » to predictable results. However, there are moments interspersed throughout that do generate rich ambiance and eye-popping musical ideas. « Dominic and the Perfect » and « Holocauste » offer beautiful breaks of smooth, delicate instrumentation before returning to ’90’s Swedish Black/Death or slow, thumping heaviness!
Readily apparent on « Cathartic » are the numerous keyboard passages that ebb and flow effortlessly on « Church of the Wolves« , « Béziers » and « Flet Victus« , the latter including a notable effort in choral singing! « The Inquisitor » does a fine job of creating a foreboding and menacing urgency but once again returns to that reliable « mid-point break ». Uniquely, « Augustus » sounds vaguely Middle Eastern in its riff pattern and Orpahange–inspired Gregorian chants. Making for an epically rousing aria, the song is a guaranteed highlight and would sit nicely on an album by Quebec’s, AETERNAM.
For all intents and purposes, France’s AD EXTIRPENDA has checked all the right boxes with debut, « Cathartic« . Although, with prolific similarities to 1990’s Melo-Blackened/Death well tread originators, the album just seems to be a pattern in an already well made quilt. Including moments of real ingenuity, AD EXTIRPENDA shines when the ideas step outside the box. It’s when the metallic bombast is featured along with simplistic main riffs, that one tends to place the group within the « been there, done that » category. If « Cathartic » was released in 1996, it most likely would place on many year-end, Top 20 lists.
Standout Tracks: Dominic and the Perfect, Flet Victus, Augustus
6.5/10
Chris
by Chris Wheeler | Mar 27, 2014 | Critiques, Critiques d'Albums
Sverdkamp
« Fraa Ryfylke » (demo)
Self-Released/Independent
2014
From the frozen tundra and majestic landscapes of Norway, comes SVERDKAMP, a band formed by Nattsvart and produced by NATTSOL member, Venomenon. What SVERDKAMP offer on their first proper demo, « Fraa Ryfylke » is a deeply rich, sonic journey encompassing folky Black Metal peppered with Viking moodiness. First song, « Til Strid » gets right to the chaos in traditional Black Metal fare, including blast beats, raw aggressive guitars but also welcomes melody and baritone clean singing as the rhythm changes often to add unpredictability. While primitive in its production and execution, « Til Strid » conveys a sense of brooding and grimy sensibility similar to old FINNTROLL or KAMPFAR and rises in tension as the song draws to a close.
Veering in the opposite direction, « Daudens Drikkleikarvise« , can be characterized as a drinking song for burly Vikings on a ravaging pillage! Jaunty and « anthemic », the number features gang vocals and an uplifting pulse that swings from the drunken bar stools from which the ideas may have sprung! This is the sound of « brotherhood ». « Hymne til Heimlandet » is strong and forceful in its slower pattern while « Trettemyrane. follows the faster template with the return of the signature Black Metal screech mixed with rousing arrangements that stir one’s emotions. Producer, Venomenon (Nattsol, Man Gremmes Kan) offers guest vocals on « Med Vondt Ska Vondt For« , as well as Draugr Skaldvard, (from Viking band, Thurs) on the last tune to impress. With its penchant for mid-paced Black Metal and proud clean vocals, the number clearly follows the tradition of early ULVER, KAMPFAR and HELHEIM!
SVERDKAMP’s demo, « Fraa Ryfylke » is a must have demo for fans that appreciate their Black Metal primitive and epically inspiring, meshing folk elements and proud crooning. For a demo, the sound could be made « thicker » by pushing the drums to the fore. The caustic guitars tone recalls ULVER’s « Madrigal of the Night« . However, with the diversity of ideas present, there’s no doubt SVERDKAMP’s potential can only rise higher….
Standout Tracks: « Trettemyrane« , « Med Vondt Ska Vondt For »
8/10
Chris
