by Chris Wheeler | Jan 23, 2014 | Critiques, Critiques d'Albums
Bookakee
« Whorrific »
Unsigned/Independent
2013
First album out of their artistic gate, Montreal’s BOOKAKEE have returned with Whorrific since 2011’s ep, Invasion of the Depraved. Boasting diverse musical backgrounds as MAGISTER DIXIT, OXIDIZED FAITH and VALFREYA, the five-piece certainly have brought a variety of diverse influences into the fold to mark a very satisfying listen!
What is immediately apparent, right from the open bars of A Night to Dismember is the array of musical ideas on offer. Ranging from brutal death to grind to heavy alternative and even flamenco, what impresses are the chances BOOKAKEE takes while throwing the “rule book” out the window! Songs seem to dance between many ideas that render the album unpredictably engaging. Title track, Whorrific, displays dynamic guitar noodling with an almost “jazzy” foundation while Perverted Monolith features guest vocalist, Crook from fellow Montrealers, VALFREYA. The tune also exhibits an almost playfulness rarely heard in such musical circles!
Blasting grind and brutal rhythms abound in most songs which are promptly swept aside by quieter moments which allow the guitars to showcase their wares and introduce some “left field” ideas. Horror themed lyrics and overall aesthetic are pushed to the fore by vocalist, Philippe Langelier (OXIDIZED FAITH) in a dual rasp and guttural growl performance, but there are moments of musical dominance in the three mesmerizing instrumentals, Meurte Paluda, DK and A.A. Acoustic, the latter being a sweeping guitar album closer punctuated by strummed chords and classical guitar picking. As it is, the album clocks in at approximately 62 minutes which may be on the “long-ish” side, but with the variation in extremity and mood, fans will no doubt overlook Whorrific’s length. With combining so many elements, it may be career suicide to throw so many colours on one canvas, but BOOKAKEE does a fine job of keeping the interest and momentum going; masterfully controlling the chaos of this, their first of many brilliant and innovative albums!
Standout Tracks: A Night to Dismember, Whorrific, Perverted Monolith, Carcass Coffin, DK
8.5/10
Chris
by Chris Wheeler | Jan 23, 2014 | Critiques, Critiques d'Albums
White Empress
« White Empress » (EP)
2013
Rumoured to be the brainchild of Cradle of Filth guitarist, Paul Allender, WHITE EMPRESS is shrouded in mystery and intrigue. Bearing the hallmarks of symphonic, melodic Death Metal, the four song ep. indulges in bombastic rhythms punctuated by full on dramatic flair! Not to be stereotyped as another « female fronted » commercial viability, this mini-album has teeth!
What sets WHITE EMPRESS apart is the vocal styling that combines both a deathly rasp and cleanly sung, soaring delivery, most notable on first song, Erased and Rewritten. Here, the energetic pace and manic symphonic overtones make for tension between the verses and chorus; quite effective. Similarly, Exile (The Empress Returns) continues the epic barrage of sonic fury, accentuated by a background choir and subtle dramatic keys which are anything but, in Fall of the Guard, as they become the driving force behind the number’s cinematic melodrama.
As most female fronted bands indulge in clichéd gothic and serene textures, WHITE EMPRESS doesn’t mince words but gloriously dabbles in complex and layered musical ideas. More vicious than others, the troupe steers the ship into troubled waters and attacks the storm head-on! Nicely mixed and produced, the sound is pristine and clear, allowing for the subtle details to be heard without being overbearing in the final mix. The only problem is…..the album isn’t a full length, which is something fans will no doubt be yearning for this year!
Standout Tracks: Exile (The Empress Returns), Fall of the Guard
8.5/10
Chris
by Chris Wheeler | Jan 21, 2014 | Critiques, Critiques d'Albums
Dirtcake
« Dirtcake »
Unsigned/Independent
2013
Forming in 2006, Montreal’s DIRTCAKE have released their first debut self-titled album, Dirtcake and unlike « playing it safe » international successes, Arcade Fire or Sam Roberts, the foursome put the attitude BACK in hard rock! Oozing an almost « L.A. sunset strip » swagger, DIRTCAKE is a band that inject a sense of bravado that has been sorely lacking in « commercial » Rock music for a while now. Poised to make an impact, the self titled album launches with « In Writing« , a song that certainly wastes no time in firmly making a statement of intent. Hard hitting with crunchy riffs, the song’s venom is punctuated by Jason Mateus’s hoarse, shouted vocals and driving drums! Together with, « Brass Knuckles« , « Bridget in Mono » and « Drive« , gritty, blues-inspired bar rock is the order of the day and can readily be on the same playlists of VELVET REVOLVER, SLASH or LOADED fans!
Though the album is perfect to bang your head to or enjoy cruising down the highway with the top down, « Aka No Joo » showcases a slightly mellower side and « quirky » rhythm before the angst returns in the chorus, while « Dirty Blues » is just that – « dirty »! Slow and deliberate, the song epitomizes sleaze and sexual charm without being overt. For an unsigned debut album, Montreal’s hard hitting, DIRTCAKE check all the right boxes in commercial viability while still maintaining a backbone worthy of the sun-soaked scene debauchery of L.A.’s giants! Though, the formula of their song craft isn’t new, sometimes the music climate needs to be reminded of a « classic sound ». So, while hipsters are enjoying the « niceties » of Indy Pop/Rock, it’ll be up to DIRTCAKE and others of their ilk to inject some sorely missing « danger » back into Rock ‘n Roll!!!
Standout Tracks: In Writing, Brass Knuckles, Dirty Blues, Magnum
8.5/10
Chris
by Chris Wheeler | Jan 19, 2014 | Critiques de Shows
If there was a central theme to last night’s Black Metal show, it would be “food”, or rather MEAT, to be exact! Beginning late, the four Black Metal acts were obliged to perform downstairs from the slated Piranha Bar due to a conflict of scheduling. Surprisingly, local delicatessen, Frites Alors! was to be the stomping ground for a night of unabashed mayhem and primeval malice!
As the restaurant’s patrons slowly made their way to the “exit” sign, Montreal’s AVERSION uncharacteristically marched on stage with the venue’s lights penetrating the small space. Not really the “token” ambiance a Black Metal show may exhibit, the band played, however, with conviction and confidence to a crowd that may have taken a little while to “warm up”. Broken Hopes, Prodigy and Pre-Life Nostalgia all went down like a well-oiled machine (among others), inducing headbanging fury or mid-paced tempo changes to which no one was left disappointed. For a “restaurant gig”, the sound quality was near perfect with even the bass clearly audible. Final cut, an impressionable instrumental left guitarist, Nemrod and drummer, Vilain on stage to execute a harrowing number which resulted in the attendees wanting more. Their set was too short!
Montreal’s ISSFENN, began their set with a single thought in mind – to destroy! Stalking the stage like a famished animal, singer/guitarist, Xost, commanded the stage and while remaining member, drummer Vitrid blasted away, the crowd rejoiced in the night’s first pit. Finally, the lights were dimmed enough to provide a suitable atmosphere. Their brand of dirty, straight forward Black Metal at times gave nods to Immortal’s style of guitar picking, albeit most songs included elements of thrash and groove in equal measure. Onlookers were awash in aural pleasure before a broken guitar string interrupted the proceedings, which unfortunately halted the sets momentum; a momentum ISSFENN struggled to get back. Still, fans commended the duo for their perseverance and raw grit in a rousing final applause.
Frites Alors! will never be the same again. No one expected what was to come as Montreal’s BLACKSCORN prepared their set, peppering the stage with the heads of two pigs and a rather large sheep! Either in awe or in complete disgust, some fans got up close and personal with the artifacts as the band burst forth with an unadulterated set, rife with relentless force. As the first note rang out, a barrage of bodies slammed into each other like a demolition derby, knocking over the sheep head mounted on a metal pole. Grinning from ear to ear, singer Corpse looked on as fans grabbed at the piece, ramming each other in sickening glee, blood smattering on the floor! The non-stop vitriol of BLACKSCORN’s music was the perfect soundtrack to Satan’s converts going absolutely nuts!
As the evening wore on, unfortunately the venue cleared (hoping to catch the last Metro home) before headliners SVALBARD were to take the stage. Reeling from the last performance and slipping on “animal head juices”, fans were treated to an intimate hour + from Quebec’s juggernauts. Gloriously raging through cuts, War, Viking Raiders, The Fall and Aurora Borealis, the band gave it their all, pushing the remaining faithful to join them into the late hours. Having only released a full length and a slew of split albums since 2004, SVALBARD proved to be a competent and highly professional/seasoned live outfit while the songs themselves translate very well live! Not content on merely watching the spectacle, a few crowd members eventually pick up where they left off during BLACKSCORN‘s set, rabidly tossing and plucking the various heads up from the floor! A rare sight to behold at most Metal shows; an even STRANGER sight when it occurs at a popular restaurant….A good time was had by all…..Heads Alors!!!!
Chris
by Chris Wheeler | Jan 15, 2014 | Critiques, Critiques d'Albums
Man Gremmes Kan
« On a Pulpit of Souls » (demo)
Glorious North Productions
2013
When Venomenon isn’t performing live with RAGNAROK, or participating in THE DEVIANT or his main band, NATTSOL, the Norwegian is busying himself with other musical outlets, namely MAN GREMMES KAN (meaning, “one should be ashamed”). Unlike Nattsol, which is awash with Blackened folk and beautiful, epic soundscapes, this six song demo features a sonic palette not unlike being hit over the head with a sledgehammer! Harsh, militant and unnerving, On a Pulpit of Souls is a lesson in unbridled aggression and warfare. Very unsettling.
To Bear False Witness (When Mecca Burns) opens the collection with an abrasive, mechanical sound as the guitars/drums attack the listener like an exploding bomb! Our Genocide God does well in maintaining the momentum only including a few tempo changes to slow the proceedings. Here, anguished vocals continue to spit forth tales of war atrocities and human rights violations. Vaar Tornekrone’s main riff sounds almost patriotic and proud until the pace is quickened to caustic violence once more while the title track, On a Pulpit of Souls begins with a doom sounding guitar intro before the drums kick in and Venomenon’s vocals pay homage to Immortal’s Abbath.
Traditional, raw Black Metal is certainly the template by which Venomenon bases this band while adding touches of cold, unfeeling refinement that are showcased in the final mix. Very primitive and determined, the demo’s sound is neither polished nor pristine. The snare drum tone is akin to hitting a tin can while the guitars attack the senses like a chainsaw cutting through flesh and bone! For a demo, the songs play fast and furious and the ideas are well developed and mature. While not particularly catchy or easily accessible, the overall subject matter of MAN GREMMES KAN gels perfectly with the artwork and music. This is not nice. This is not sweet. This is not comforting. This is war….
Standout Tracks: To Bear False Witness (When Mecca Burns), Vaar Tornekrone, On a Pulpit of Souls
8.5/10
Chris
