by Chris Wheeler | Juil 2, 2014 | Critiques, Critiques de Shows
Opening the doors at the ungodly hour of 5:30pm, rabid fans descended upon Café Campus, Montreal, to witness Europe’s classically tinged Metal warriors wreck havoc upon their ears! It hasn’t been ages since Greece’s SEPTIC FLESH performed here and already, fans were salivating for a return. Add to that Italy’s FLESHGOD APOCALYPSE, and you have a recipe that’s difficult to ignore.
Performing for an already full house, Pennsylvania’s BLACK CROWN INITIATE, warmly graced the hungry crowd with soulfulness and able musicianship! With a hot blend of melodic Death and progressive flourishes, the band played a mesmerizing set seamlessly transferring from slow to faster paced melodies with ease. Guitarist, Andy Thomas, masterfully provided clean vocals alongside James Dorton’s extreme throat to juxtapose the light and darkness within the music. At times, the slow, dirge like determination and musical passages could turn any OPETH fan their way. Ultimately BLACK CROWN INITIATE’s ended their set on a high note; satisfying fans cheered with raised horns and screams aplenty!
Montreal’s NECRONOMICON didn’t waste any time convincing the audience of their intent – namely to spread a menacing aura! Dense, foreboding and intoxicating, their wall of sound recalled Immortal and Behemoth’s heavy-laden bombast, though with far less “hooks” to sink one’s teeth into. Nevertheless, the band quickly amassed applause with their synchronized headbanging, forceful tunes and ominous presence. “The Time is Now”, “From Beyond” and “The End of Times” (among others) all captured a strong presence as Rob “The Witch”, introduced the band’s latest member, bassist, Mars. Although, the performance didn’t instill a pit, the crowd did appreciate the punishing onslaught nonetheless.
Italy’s, FLESHGOD APOCALYPSE played next to a wanton audience baying at their emergence on stage, dressed in torn and tattered tuxedoes while backing soprano, Veronica “ValchiRea” Bordachinni struck a classy look with her ballroom-styled mask and floor length gown. Epic and commanding, the group stormed through “Pathfinder” and “The Forsaking” like a chainsaw through warm butter, powerfully playing with conviction and purpose! Huge cheers and rabid audience participation made the set all that more intense as a vicious pit opened and bodies were left battered and bruised! Though, FLESHGOD APOCALYPSE use an orchestra in the studio, the live situation brought a backing program providing an apt accompaniment to the songs however, Francesco Ferrini’s piano could have benefitted from a higher volume. A tough act to follow, the Italians know how to work a crowd and properly transpose their studio wizardry to a live and “in the flesh” execution!
For years, this reviewer has followed the various incarnations of Greece’s, SEPTIC FLESH ever since their 1994 debut, “Mystic Places of Dawn” and while it hasn’t been too long since the last time the band performed on these shores, hopes were high that they’d play older numbers, at least from THIS writer’s point of view. Alas, it wasn’t to be. Similar to their last performance, the set included songs from 2003’s “Sumerian Demons” onwards. With zealous energy, ‘Communion” “Unbeliever”, “Anubis”, “Persepolis” and “Five-Pointed Star” all went down like a tidal wave of uncanny force, utterly gratifying to all in attendance. With much posturing though, singer/bassist, Seth almost seemed to not play his instrument (at times not even hitting the strings as he “played”) but favored a more apt role in bringing the attendees together with shouts of “Hey, hey, hey” and “C’mon you motherfuckers” which in turn slightly diminished the credibility of the musicianship. Far from the critical eyes and ears, fans went crazy! Imploring a dramatic Wall of Death, the crowd never stood still while the band played their war-like anthems of days past, even including new songs, “Order of Dracul”, “Prototype” and « Burn ». Though SEPTIC FLESH seemed to precipitate a strong reaction, the set boasted much pomp and circumstance which left this reviewer cold and underwhelmed. Unfortunate, since their career has rode the tide of glory for so long…
Chris
by Chris Wheeler | Juin 25, 2014 | Critiques, Critiques d'Albums
Aliénante Damnation
« Le Chantre du Charnier »
Ars Funebris Records
2012
Packing a no-holds-barred attitude and execution, Belgium’s ALIÉNANTE DAMNATION certainly don’t mince words. With an onslaught of raw, untamed Black Metal, sole member, R.O.P.S. (also in VOCIFERIAN and MACABRA) takes Satanism and nihilism to new heights on “Le Chantre du Charnier”, his debut album, and one which is designed to “tear your soul apart”!
Exploding like a burst of fire and brimstone, “Charogne Béatifée” assaults the senses in a punk-inspired blast of primitive Black, incorporating vocals akin to an otherworldly, beastly snarl. The reference to punk- determination also rears its ugly head on “Au Sacre de la Trinité de Viol” but soon becomes a straight forward visceral experience of stripped down tremolo riffage and blaring drums! Only on “Ordalie Satanique” do the proceedings slow, but only slightly. Most, if not all, the songs are pummeling and provide little in the way of respite. Suffocating and dense, the sound is unhinged playing upon the darkest recesses of the human psyche with no apologies.
“Vêpre du Gérasien Possédé” also showcases a slower pace that is altogether haunting and malevolent in tone and atmosphere, enhanced greatly by the poisonous vocals once again. Beginning on “Mes Paupières s’obstruent telle la Lame Oxydée d’une Guillotine”, the melodic Swedish Black/Death symbiosis starts to emerge, with the track lasting slightly longer. Still crude and aurally abrasive, “Le Chantre de Charnier” feels like an almost different beast altogether with decipherable riffs one can latch onto, particularly on “Me Révulse cette imperceptible Aura Stérile (Aux Portes Béantes de L’ennui Radieux)”.
Marking this album’s length a total of 37mins., is genius as the philosophy behind the art may be to “get in and get out”, without wasting time. With the majority of the tracks sounding relatively “samey”, Aliénante Damnation‘s record seems to be designed for a specific mood in the listener. Harrowing and caustic, “Le Chantre du Charnier” isn’t an easy listen but can be rewarding if heard with an open mind and a predisposition to seething, unorthodox Black Metal.
Standout Tracks: “Vêpre du Gérasien Possédé”, “Sylvestre Trône des Brumes”, “Me Révulse cette imperceptible Aura Stérile (Aux Portes Béantes de L’ennui Radieux)”.
8/10
Chris
by Chris Wheeler | Juin 24, 2014 | Critiques, Critiques d'Albums
Mythology
« The Impaler«
Self-Released/Independent
2010
Emerging from the darkest recesses of the U.S.of A., MYTHOLOGY boast a sound and aesthetic altogether built upon the foundations of Swedish Black/Death but with a foot firmly planted in Thrash as well. From their inception in 2004, the band have released a plethora of demos, two split albums and an EP before finally culminating in “The Impaler”, a record inspired by the life and times of 15th century Romanian warlord, Vlad Tepesh/Dracul.
Like the opening credits to an epic film, “The Impaler” begins with a keyboard instrumental, “Towards Wallachia” before plunging into “The Forest of the Impaled”, a vicious barrage of blast beats and impressive guitar riffing. From there, MYTHOLOGY immerse themselves in Teutonic Blackened Thrash with dual styled vocals, one of a rasp and the other more of a growl, courtesy of vocalist, Gallows. “Barbaric Warfare” recalls some of the ‘80’s German bands in its approach and rhythm attack, most notably, SODOM. An effective mid-paced crunch and variation gives the song character and certainly can be construed as a highlight!
“As Time Strangely Passes” provides relief somewhat as the instrumental quickly merges into “A Call of the Night”, a strong Blackened beast with both spiteful vocals occasionally overlapping. An interesting, clear bass line jumps out only to be engulfed once again by the wall of guitar distortion, a nuance that could be exploited further? What’s more, “Suffering Unbound” is perhaps the slowest number on “The Impaler” and features an audible bass gargle and chuggy, melodic rhythm section while “The Dragon’s Fall” includes a lumbering, melancholic main riff as the momentum slowly builds to reveal a harrowing finale! What MYTHOLOGY manages to accomplish quite well is to provide a portrait of events and adding a soundtrack to perfectly match the lyrical content.
Altogether, with striking covers of DARKTHRONE’s “Transilvanian Hunger” and BATHORY’s “Pace ‘Till Death”, MYTHOLOGY’s debut record is one which stokes the infernal fires of Black/Death plus raises the horns to Thrash too! Strong on variation, “The Impaler” paints a vivid picture of history all the while providing a grim sonic template!
Standout Tracks: “Barbaric Warfare”, “Suffering Unbound”, “The Dragon’s Fall”, “A Strigoi Awakens” (outro)
8/10
Chris
by Chris Wheeler | Juin 15, 2014 | Critiques, Critiques de Shows
As the last of the soundchecks were complete, fans hungrily filed into Coop Katacombes, on Thursday, June 12th, 2014, seeking out the merch table before being witness to a celebration of brash, unadulterated Heavy Metal, courtesy of England’s own GRIM REAPER! Organized and promoted by Annick Cauchemar (of the Montreal band, CAUCHEMAR)/ Violently Old School, fans finally had the opportunity to « experience » one of the grandfathers of the N.W.O.B.H.M, since their performance here in 1987. Thus, tonight was an aspicious occasion!
Montreal’s MADPARISH kicked off the festivities with a strong performance, harking back to the early 80`s tradition, both in terms of sound and look! Singer, Josh McConnell appeared like an untamed Heavy Metal wrestler, flaunting traditional 80`s style black spandex and belting out a vicious scream under long locks of curly hair (ala. Chuck Billy of TESTAMENT)! Meanwhile the three guitars raged behind, accompanied by a rhythmic bass and drum tempo that kept the energy high. Wasting no time in « delivering the goods », MADPARISH certainly have synchronized their performance from headbanging in unison to dual vocal harmonies with the guitarist to including a dry ice effect that may have been a bit too thick at times. Nevertheless, the band played a flawless set with the players clearly having the time of their lives!
MIDNIGHT MALICE were certainly in fine form as well, blasting the audience with a more aggressive approach than MADPARISH, the Toronto natives`brand of thrashy, Heavy Metal with true grit and propulsion kept the spirit of the 80`s alive too, though with a contemporary « bite »! Performing songs from their debut, « Proving Grounds« , the band swept through « The Lady Killer« , « In the Dead of the Night » and « Pray For Death » to fans who roared their approval after every song, a deafening noise that seemed to elevate as the set carried on! Live bassist, Brain Stephenson (of Old James/Aggressor) furiously took the stage as though he owned it, whipping and contorting his body as the notes rang out, clearly savoring every moment on that stage! Meanwhile, with fans singing along and fist-pumping the air, it was clear that the evening was on an upswing.
With growing anticipation, England’s GRIM REAPER graced the stage one by one before finally seeing original singer/member, Steve Grimmett, walk on to massive applause. Wild and wickedly fun, GRIM REAPER‘s set was awash in tunes ranging from their first record to their last (and then some), smashing out hits, « Wrath of the Ripper« , « Liar« , « Matter of Time« , « Lay it on the Line« , « Rock me ’till I die » and « Waysted Love« , a song which apparently the other members (aside from Steve Grimmett) were hesitant in playing. Being met with complete adoration, Grimmett and co. also paid respect to the late, great Ronnie James Dio in performing a heartfelt rendition of « Don’t Talk to Strangers« , before ending the evening with fan favorite, « See You in Hell« ! Like a runaway freight train, GRIM REAPER didn’t mince words, but were on their « A Game » giving a perfect show and proving that you can’t keep a good man down; Grimmett‘s voice was phenomenal, and while it has been nearly 30 years since the band has performed in Montreal, with a new album in the works, it may not be the last…..
by Chris Wheeler | Juin 7, 2014 | Critiques, Critiques d'Albums
FleshTorn
« Synopsis«
Self-Released/Independent
2014
Hailing from North Carolina, lone warrior, Brannan Hayes has been busy toiling about putting together his first proper debut, “Synopsis” under his tech-Death moniker, FLESHTORN. With much persistence and enthusiasm, Hayes has managed to fine tune a lot of the numbers and has especially focused on the “clanky” drum sound a program may embody to perfect an album worthy of repeated listens!
Symbolically representing the “human condition”, “Synopsis” lyrically delves into the imaginary world inhabited by alien animals that reflect the hardships we often face in our own lives. Fitting, as the words are best demonstrated through the songs in their manic and haphazard brutal, tech-Death! “Septic Lacerations”, “Abandoned by the Herd” and “Mating Season” all clearly define where Hayes shows his Metal affinity. Chaotic and “busy”, the majority of the album is an auditory workout of blistering kick drums, chuggy riffs and rhythms, compounded by rerecorded sampled drums that don’t sound too inauthentic, courtesy of Ryan Reed and his recording studio.
With all the dexterity of the nine songs, the casual listener may be inclined to dismiss “Synopsis” as mundane or slightly repetitive, but it is with repeated listens that the details begin to emerge. “Overridden Sensorium” and “The Chain” for example, borrow much from fellow alumni, OBSCURA or THE FACELESS in guitar melodies and the stop and go nature where there’s so much going on that it may be challenging to hear the subtleties within. “Parasitic Larva” recalls “Festering in the Crypt” by CANNIBAL CORPSE when the momentum builds and the guitar scale shifts from a slow to mid-paced groove.
Sure, FLESHTORN haven’t reinvented the wheel, but what listeners may appreciate is Hayes’s dedication to the genre and the artists that push themselves to create “mind-bending” music. With others perhaps relying too much on technicality over crafting traditional sounding “songs”, FLESHTORN hasn’t forgotten what a song is supposed to sound like!
Standout Tracks: “Mating Season”, “Parasitic Larva”, “Overridden Sensorium”
7/10
Chris
