According to our “hero of the day” Hershel, a sad soul can kill quicker than a germ. However, not as quick as Rick and Carl together.
***WARNING: CONTAINS SPOILERS***
If you haven’t seen Internment yet, I suggest you scroll down to the end of this post first and watch the entire episode before reading the rest of the text.
Holy shit, the intensity of this episode was insane! I don’t even know where to start (maybe by saying that there was no sign of Carol?). There was so much going on at the same time, so many characters giving outstanding performances, that it will be hard for the producers to surpass Internment in terms of action and adrenaline. And regarding our friend Hershel, he was a total badass dealing with walkers, kids and the virus, all at the same time, and finding time to even make some jokes. I think he deserves the “Spaghetti Tuesday” on Wednesdays now, if they can find some spaghetti anywhere.
From the very beginning of the episode, I bet everybody was worried about losing Hershel (to the walkers) or Glenn (to the virus), although we knew somehow those two would survive. The thing we didn’t know was how they were going to make it through all that chaos, and both were great, especially Hershel. This was HIS episode and nobody else’s: he showed everyone he’s not only a wise man, but he also has the heart of a lion. The way he handled everything, from not killing people/walkers in front of the kids to risking his life to save Glenn, was amazing. It was interesting to see an episode so full of action and tension without Daryl or Michonne, who would usually be in the middle of the fights and action scenes. Hershel is now the official “badass one-legged grandpa” of the crew, his lonely tears at the end holding his Bible were touching, and from now on we know the group cannot survive a single day without him.
And what about that “zombie massacre” provided by the dynamic duo of Rick and Carl? That was probably the start of a beautiful partnership between father and son, something that we have been all expecting from them since the TV show started. The look Rick gave to Carl when the kid was annihilating all those walkers with a machine gun was so cool! It was almost possible to see a very proud father pointing to his son and screaming to everybody else “You see him? You see how strong my son is? That’s my boy!” Let’s wait to see what happens next, but if the show follows the comics, this partnership will become stronger and stronger each day, guiding The Walking Dead to a “Rick and Carl” exclusive storyline, with no one else included except for the herds of zombies, of course. Based on what we saw last night, they’re more than ready for that.
One thing is certain: they have to leave the prison as soon as possible. It’s not a sustainable environment, everybody is dying, and the fences are not holding the walkers anymore. There was an important message last episode when that guy said he and his girlfriend do not wait until a place goes bad, they simply move on. I hope Rick gets the message really soon and they get out of the prison, which despite being an important “character” in the show, is turning into a hassle for everybody inside.
And last but not least, just like almost every episode of The Walking Dead, when we thought everything was fine and everybody was safe and ready to toast some marshmallows outside, there he was. The Governor is back (even if it was for less than 5 seconds), and as I said, it’s going to be brutal. I cannot wait for next week’s massacre episode.
A mandatory item in the collection of any Maidenmaniac in the world.
When someone becomes “obsessed” by a band or artist, he or she is capable of spending unreasonable amounts of money in any stupid garbage that has the band’s name on it. Particularly these days where the illegal downloads are responsible for huge money losses for the record companies, selling concert tickets, exclusive clothing, memorabilia and other things you cannot download became the cash cows for all types of bands, including even giants such as Iron Maiden, Metallica and KISS.
Although Metallica has a more commercial approach in their music and KISS has all that magic behind their face painting and stage performance, it is Iron Maiden that has the biggest advantage in selling stuff to their fans due to their unbeatable mascot Eddie. It’s almost impossible to find a Maiden fan that doesn’t have at least one simple T-shirt with Eddie’s face on it, and some fans like me enjoy collecting the weirdest and most exclusive items available (if those items do not “damage” my bank account too much, of course), making this market even more profitable for the band.
Among all the Iron Maiden and/or Eddie stuff I’ve seen in my life, the headknockers (or bobbleheads) produced by the company NECA (National Entertainment Collectibles Association) are the most interesting and detailed, and the price around 30 Canadian Dollars make them a very accessible item for all Maidenmaniacs to add to their collections. They’re very high-quality toys, made of a material that’s way better than any other plastic bobbleheads like the ones from Funko, and they’re bigger too, reaching around 8” tall.
NECA launched five Eddie headknockers a few years ago, all extremely well-crafted. I have two of those, The Trooper (which I used in my Trooper Beer review pics, as you can see here) and TheNumber of the Beast, and I’m still trying to find the other three. Well, when I was in Stockholm (Sweden) this year I saw the Live After Death one at a music store downtown, but it was over 60 Euros, which is too much and my bag was already full of stuff. Regarding the other two, I’ve never seen the Piece of Mind and Somewhere in Time bobbleheads for sale anywhere yet, only some pictures on the Internet. By the way, the Somewhere in Time one seems to be the most awesome of all, followed by The Trooper. I wonder if one day they’ll create new bobbleheads for some other classic Eddies, as for example Powerslave, Phantom of the Opera and Be Quick Or Be Dead (this one would be absolutely insane with Eddie grabbing that same politician by the neck).
I bought mine at the Sunrise Records located at Yonge and Dundas in Toronto, but I’m not sure if they still have any left. Anyway, you can try their online shop, and there’s always something available on Amazon.ca. And if you find any of the three I’m still searching for, please let me know, because instead of “Iron Maiden’s gonna get ya, no matter how far”, the motto in my case is “I’m gonna get the Eddie headknockers, no matter how far!”
Why instead of launching two EPs with cover songs in less than two years didn’t they launch only one full album?
I’m not a fan of Halestorm nor will ever buy any of their albums, but when I saw they launched another covers EP which included one of my favorite Priest tracks of all time, Dissident Aggressor, I decided to give them a try. In 2011 they launched ReAniMate: The CoVeRs eP with cover versions for Slave To The Grind (Skid Row) and Out Ta Get Me (Guns N’ Roses), among others, and now they come up with another covers EP. This either means that they simply love playing songs from their biggest influences, or that they don’t trust their own music that much, because I can’t understand why they had to launch two covers EPs instead of only one full album, such as the magnificent Undisputed Attitude recorded by Slayer back in 1996.
Dissident Aggressor opens the EP and it’s undoubtedly the best track of all, although I prefer a million times the version from Slayer and a billion times the original song from Judas Priest. Anyway, there’s nothing special in this version, it’s just a well-played cover song. Then comes Get Lucky from Daft Punk, and here we have one of those cases where the cover version is superior to the original, such as DevilDriver’s version of Sail (Awolnation), mainly because the original song is not really heavy, but again nothing special. In Shoot to Thrill (AC/DC), they turned an all-time classic into a regular song, despite all the effort from Lzzy to sing as “Hard N’ Heavy” as possible. Hell is for Children from Pat Benatar and Gold Dust Woman from Fleetwood Macare so close to the original ones that, in my opinion, do not add any true value to the EP. Finally, their version for Marilyn Manson’s 1996 is not as good as the original one, and it even lacks the energy Manson had when he recorded it.
The album art is too generic, especially if compared to the first covers EP. And regarding the musicians, although they are all pretty good I guess no one cares too much about any of them except for the beautiful and competent lead singer Elizabeth “Lzzy” Hale: she’s the only reason why Halestorm became so famous in the world of music, and the only thing that can keep the band alive in the following years. Nevertheless, her voice might be powerful but it’s certainly not unique; if you listen to Mia Coldheart, from the Swedish band Crucified Barbara, you’ll understand why I’m saying this. By the way, Crucified Barbara is not as famous as Halestorm only because (GUESS WHAT?) they’re not from North America.
In summary, it’s an interesting EP with some good covers from a band that is currently under the spotlights, but that’s it. And if they launch another ReAniMate covers EP in 2014, well, then they’ll take the 1st place of “best professional band in the world that only plays cover songs” from Finland’s Children of Bodom.
Best moments of the album:Dissident Aggressor and Shoot To Thrill.
Worst moments of the album: As I previously mentioned, the fact that it is their second covers EP turns it into some kind of “rip-off”.
Released in 2013 Atlantic Records
Track listing 1. Dissident Aggressor (Judas Priest cover) 3:12
2. Get Lucky (Daft Punk cover) 3:08
3. Shoot to Thrill (AC/DC cover) 5:07
4. Hell is for Children (Pat Benatar cover) 4:46
5. Gold Dust Woman (Fleetwood Mac cover) 4:10
6. 1996 (Marilyn Manson cover) 4:22
Band members Lzzy Hale – lead vocals, rhythm and lead guitar, keyboard
Arejay Hale – drums, percussion, backing vocals
Joe Hottinger – lead guitar, backing vocals
Josh Smith – bass guitar, backing vocals
The best Manowar album of all time not recorded by Manowar. And what’s even better, it’s entirely sung in Finnish.
As any normal person in the world, I developed a passion for a country very different from my own many years ago: the Republic of Finland. The grass is always greener on the other side of the fence, right? And I had some very good reasons for that, because especially in terms of music and drinks, Finland is way better than Brazil. So I started studying Finnish and saving money for the “trip of my dreams”, which finally happened in the beginning of 2006. I was able to see the snow for the first time (which now that I live in Canada doesn’t seem to be that cool anymore); I tried lots of different types of beer, vodka and other typical Finnish drinks; I made some really good friends; I saw Stratovarius, Sonata Arctica and Lordi live, as well as a theatrical play with Tarja Turunen; and went to a heavy karaoke where I saw a guy singing an amazing song called Metallisydän. Wait, what the hell was that song? What band was that?
Then the next day or the other one (of course I don’t remember exactly when), I went to a nice pub called On the Rocks, and there was this cover band playing some classics from Queen, Rolling Stones etc., when they played another powerful heavy song in Finnish called Taivas Lyö Tulta from that same band, and that was more than enough to make me ask a guy at the pub the name of the band and run to a record store the next day to buy their album. This is the story of how I discovered the Power Metal band Teräsbetoni (“Reinforced Concrete” in English) and bought their debut album, the almost perfect Metallitotuus (“Metal Truth” in English), one of the best, if not THE best, Power Metal album of the past 10 years at least (and a million light-years better than anything Manowar has produced since Louder Than Hell).
The album starts in the most powerful way possible with a track that has the same name as the band, Teräsbetoni (Reinforced Concrete), which could easily be used as the Finnish National Army’s anthem. It’s impossible not to compare each part of the song with some old Manowar classics, and I’m pretty sure that was the band’s original intention. The next track is one of my favorites: Älä Kerro Meille (Don’t Tell Us) has an amazing riff and the lyrics have that message about the fight for freedom and making your own decisions. Then comes my top Teräsbetoni track of all, not only of this album: Taivas Lyö Tulta (Sky Strikes Fire) is the perfect “battle track”, with a superb chorus that even if you don’t know a single word in Finnish you’ll start singing it as soon as you listen to it. This is a masterpiece that could have been a Manowar classic in a parallel world, if Manowar hasn’t become the most arrogant and laziest band in the world of Heavy Metal.
The following tracks might not be as good as the first three, but they’re very interesting in terms of riffs and rhythm: Vahva Kuin Metalli (Strong as Metal) and Silmä Silmästä (Eye for an Eye). Then comes another instant classic called Metallisydän (Metal Heart), a beautiful ballad I heard for the first time at that heavy karaoke I mentioned and that until today makes my “metal heart” beat stronger, and the funny Orjatar (Slavewoman), which in my opinion was some kind of tribute (or joke?) to Manowar’s Pleasure Slave. Anyway, it’s an awesome tune for all headbanging girls of the world.
The last part of the album keeps the energy level up with the fast and heavy Tuonelaan (To the Underworld); the title-track Metallitotuus (Metal Truth); another of my favorites Voittamaton (Invincible), which has the most Manowar-ish riff and drums of all (it sounds a lot like Fighting the World); and the interesting Teräksen Varjo (Shadow of Steel). The ONLY crappy song of all is the last one, Maljanne Nostakaa (Raise Your Cup), not due to its instrumental which is fairly good, but the singing done by Arto Järvinen makes you skip this track and go back to the beginning of the album. It’s simply mediocre.
Metallitotuus special digipak front cover
The front cover is a piece of junk (albeit not as bad as this one, and besides you can be lucky to find the special digipak version anyway), Jarkko Ahola oversings 99% of the time, and their Manowar-ish lyrics didn’t add much to my limited Finnish vocabulary, but I don’t really care about those minor details. Metallitotuus is pure Heavy Metal, and a very exciting album to listen to at any occasion.
Teräsbetoni, as well as many excellent European bands, are really underrated in North America. Add to that the fact they do not sing in English and are in an indefinite career hiatus and it seems absolutely impossible to see them one day playing live here in Canada. Anyway, despite all that, it’s a band definitely worth listening to, which has recorded some very good albums with Metallitotuus being their biggest masterpiece. Let’s just hope they get back in action, and that for the power of Odin they somehow come to Toronto for at least one single concert.
Best moments of the album:Taivas Lyö Tulta, Älä Kerro Meille, Metallisydän and Voittamaton.
Worst moments of the album:Maljanne Nostakaa, mainly due to the horrible singing as I mentioned before.
Get ready for some insane heavy tunes by Californian circle-pit masters.
I know it’s a little late to talk about an album launched back in August, but the problem is that I didn’t have time to listen to Winter Kills carefully until now, and to be honest, I’ve never been a huge fan of the band and the only DevilDriver album I previously had in my files was the awesome The Last Kind Words. However, I’m starting to enjoy their music more and more, especially among the “new” heavy bands available in the market, and I also noticed I’m not the only one to think like that: DevilDriver has became one of the most accepted new bands by old and demanding headbangers due to its violent lyrics, excellent instrumental and crazy on-stage performance.
The melodic opening track Oath of the Abyss has intense dark lyrics and it’s a good start to the album, albeit not as good as for example Not All Who Wander Are Lost. The following track, Ruthless, is undoubtedly the best song of the album with its amazing riffs, ruthless lyrics (just as the name of the song), and Dez’s voice in this track is as heavy as hell, which by the way is a constant in the entire album. Desperate Times can be used to explain why the mosh pits at any DevilDriver concert are so brutal, while Winter Kills, the title-track, keeps up with the speed and violence and it’s impossible not to get addicted to the chorus. “Mark my words/ There’ll be a change in the guard! / There’s frost on the sill / So now winter kills!”
Another strong track is The Appetite, which despite the stupid vide sounds ideal for crazy mosh pits, and the final solo is awesome. Your appetite for more DevilDriver will just grow after listening to this song. The weakest track of all in my opinion is Gutted: it has an extremely heavy intro, but I didn’t like the rest of it until the end. Curses and Epitaphs is more melodic than the previous tracks, with drummer John Boecklin doing an excellent job behind his set, while Carings Overkill is just filler, not a creative or interesting track at all. The last songs of Winter Kills are terrific: Haunting Refrain has a slow intro that turns into a heavy tune later on, with a magnificent guitar solo; Tripping Over Tombstones is another song that can easily take part on a “circle-pit soundtrack”; and finally Sail, a cover song from the indie band Awolnation, is a billion times better than the original song. The guitars and drums are just perfect!
The bonus tracks are also worth listening to: both Shudder and Back Down to the Grave are pretty heavy, and they even remind me of some songs from In Flames. The front cover is not very original, neither are the lyrics, but everything works fine when put together with the music. Frontman Dez Fafara keeps singing like a wild animal and has a very talented group of musicians with him, producing some high quality material for all generations of metalheads.
In summary, if you hate Facebook, Instagram and cameras during a Heavy Metal concert, you should be listening to this new overpowering album by DevilDriver and getting ready for monstrous circle pits in their next concert in your city. Winter Kills might not be what we call revolution in music, but it will crush your neck for sure.
Best moments of the album:Ruthless, The Appetite and Sail.
Worst moments of the album:Gutted and Carings Overkill.
Released in 2013 Napalm Records
Track listing 1. Oath of the Abyss 5:36
2. Ruthless 4:09
3. Desperate Times 4:08
4. Winter Kills 4:54
5. The Appetite 4:46
6. Gutted 3:28
7. Curses and Epitaphs 5:04
8. Carings Overkill 4:33
9. Haunting Refrain 4:59
10. Tripping Over Tombstones 3:38
11. Sail (Awolnation cover) 4:04
Bonus tracks
12. Shudder 4:03
13. Back Down to the Grave 4:44
Band members Dez Fafara – lead vocals
Jeff Kendrick – guitar
John Boecklin – drums
Mike Spreitzer – guitar
Chris Towning – bass
“The Ministry of Rick and Daryl” warns: drinking and killing innocents will put you into a lot of trouble.
***WARNING: CONTAINS SPOILERS***
If you haven’t seen Indifference yet, I suggest you scroll down to the end of this post first and watch the entire episode before reading the rest of the text.
If we thought the previous episode didn’t have a lot of action, Indifference was even worse. Despite a couple of walkers being killed by Daryl’s crew and only one by Rick, the rest of the episode was based on conversations, decisions and some character development. It wasn’t a bad episode, but it wasn’t a good one either (especially for Carol).
The episode was pretty much divided between Rick and Carol searching for supplies, although that was not what Rick really had in mind when he invited (surprise!) Carol to go with him; and the team composed by a crazy Tyreese, a sociable Michonne, an alcoholic Bob and a badass Daryl also looking for antibiotics and other medication for the people at the prison infected by the deadly virus. And that was it, there was no Carl, no Maggie, Beth, Glenn or any other known character.
In my opinion, the opening dialogue between Rick and Carol was among the best of the entire show: it was just as if they were the top mic workers from professional wrestling “studying” their competitors, focusing on Carol’s decision of killing the infected Karen BEFORE she actually died. When they had that dialogue and I saw Rick’s famous “I’m gonna kill you” face and some knives, I thought that was the end of Carol. Those two extra characters, the guy and girl that were hiding in a bathroom for two days because of one single zombie in pajamas, were used by Rick just to corroborate his original plan: casting Carol out of the group for not being “human” anymore. We all know that might not have been the best decision, because cold-hearted Carol will come back for sure and might be screaming for vengeance, maybe with the Governor by her side. The only thing that’s certain is that Rick doesn’t want Carol close to his son and daughter or close to anyone else at the prison, and he will kill her for sure if she tries to get back.
Regarding the other group looking for medication, what we saw was an insane Tyreese trying to commit suicide by releasing some walkers over himself, and looking really desperate because his sister Sasha was going to be dead soon. Michonne tried to give him some advice on what to do and what not to do when you’re angry, about the horrible consequences of using anger as your only reason for anything, but she was caught by Tyreese when he asked her about her chase for the Governor. I might be wrong, but Michonne is probably just acting like a good girl until she finally puts her hands (and sword) on the Governor, and Tyreese kind of noticed that. He’s not going to be stupid to try stopping her, but the message he was trying to send to Michonne was “you got your business, I got mine.”
And finally, there’s that alcoholic idiot, Bob. He’s so sloppy and not focused that it’s hard to believe he has survived for so long. Daryl and Michonne know he’s trouble, we all saw he was the one responsible for the “zombie rain” on the 30 Days Without an Accident episode, he didn’t get any medication in his bag for the infected just to get a stupid bottle of whisky, so what else needs to happen for the group to get rid of that moron? He will do more shit, that’s for sure. Let’s just hope no one we like gets killed because of him, and also that next episode has more action and less talking.
Every month from now on I’ll try to add a special post about an important woman in the world of Heavy Metal. Although we live in a very sexist world, I want to focus on the importance of each selected girl to heavy music, not only on their beauty. Well, most of them end up being very pretty, but let’s say that’s just a bonus to their talent, right?
The first one is in fact one of the heaviest and most eloquent of all: Angela Gossow is a beast (I would say she’s the personification of Megadeth’s She-Wolf), and at the same time a role model to many girls that are taking their chances in the world of Metal or to the ones that decided to become more engaged in social projects for human or animal rights.
Angela Nathalie Gossow was born on November 5, 1974 in Cologne, Germany, and she’s been on the road since 1991, beginning with the cool band Asmodina, then with Mistress and finally with one of my favorite bands in recent years, the Swedish Death Metal band Arch Enemy. I personally don’t think she will ever leave Arch Enemy and start a solo career, especially because she’s married to band’s guitar and founder, Michael Amott, and became some kind of leader of the group.
Her greatest strength is, of course, her unmatched guttural voice. I’ve seen Arch Enemy live once in Toronto, and it’s impressive how she can recreate on stage exactly what you listen to in their studio versions during the entire concert. Some Heavy Metal giants are among her biggest influences, as for example Rob Halford (Judas Priest), Chuck Billy (Testament) and Dave Mustaine (Megadeth), and what’s really interesting here is that it’s possible to notice nuances from each of these guys in her style and technique, even from a non-guttural singer like Halford.
Another extremely relevant point that must be taken into account in her entire career is her mighty on-stage performance. She sings, screams, bangs her head non-stop and interacts with the crowd all the time, making the experience of seeing Arch Enemy live even more delightful. There are so many Metal guys that consider themselves as being “the toughest men on Earth”, but that in fact do not deliver on stage not even 10% of what Angela does, and that’s a very good reason to respect this woman even more as an artist and a performer.
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On the other hand, as a lyricist she still has a long way to go. I’m not saying that I don’t like the band’s most recent albums (I love the musicality in Rise of the Tyrant and Khaos Legions), but the problem here is that since she started having more decision-making power in the band, despite the important messages she’s been trying to send to everybody about animal rights, religion or anarchism, all lyrics became too repetitive. She can keep on talking about those topics in her songs, but she needs to try doing that in a more creative way. If she refines her writing style, Arch Enemy will grow even more.
Regarding being a role model to many Metal or non-Metal girls, the fact that she’s an anarchist, an atheist, a vegan and a Death Metal singer, all at the same time, makes her unique and helps her influence a lot any woman that is pursuing a career in different areas ruled by men in our society, including heavy music. Angela and the rest of the band are huge supporters of non-profit organizations like Amnesty International and peta2 (People for the Ethical Treatment of Animals), sometimes even mixing their music with those institutions either by participating in some of their events or by allowing them to sell merchandise with the band’s name on it.
And lastly, let’s reflect about an insightful thought from Angela about religion and atheism. What do you think about it? Do you agree with her?
“To me, human rights go hand in hand with atheism. Atheists cannot hold some insane religious tradition responsible for their horrible deeds against mankind. We are fully responsible for everything we do. Until this does not apply to all religions on a world-wide basis I feel that religion is indeed the root of all evil.” – Angela Gossow
The Headbanging Moose celebrates Halloween with an exclusive interview with the one and only Blaze Bayley (Wolfsbane, Iron Maiden, Blaze Bayley) prior to his acoustic concert in Montreal this November.
The Headbanging Moose: From your first solo album until today, you have produced some very high quality Heavy Metal such as the masterpieces The Man Who Would Not Die and Promise and Terror. What in your opinion has changed and what has remained the same in your music since your solo debut with Silicon Messiah?
Blaze Bayley: The main thing that has changed is the way we record. With Silicon Messiah, I had to hire a studio with lots of equipment in, whilst now, with the new Soundtracks of My Life album, we could just record in Rick Plester‘s front room. It has become a lot easier and affordable in that way. I always write what interests me at the time or what goes on in my life, so that has stayed the same.
THM: You’ve just released a brand new song called Hatred, which is included in your new best of Soundtracks of My Life. What was your inspiration for that song and how was the recording process for it? Is it a “sample” of what people should expect from Blaze Bayley in the future?
BB: I had the idea for this song after having problems with a support band. I told Rick Plester about the idea and we came up with the music. I feel that I will record more songs like Hatred and especially Eating Children.
THM: I have seen you a couple of times in Brazil playing your regular Blaze Bayley concerts, with heavy guitars and drums, fast solos, and all your amazing energy on stage driving the fans crazy. However, you have been doing a lot of acoustic performances lately around the world. What’s the main difference for you when playing acoustic and why have you decided to start doing this kind of concert? Does it have anything to do with the fact that you’re now a father, as people usually “slow down” when they have kids?
BB: I have always wanted to a big acoustic tour but never found the right guitarist or time. It is a lot simpler because I can tour in Europe in my own car, so also a lot cheaper. It has worked out really well, although I notice that the fans are looking forward to my full metal shows again so the December dates in Brazil will be the last ones of the Russian Holiday tour. For me, the performance is exactly the same as full metal show, maybe even harder because there is no place to hide from me. The vocals have to be 100% to make that show work. Becoming a father, a parent, has made me want to work even harder. There is an undeniable reason to give my absolute best, to make sure my daughter has everything I want her to have. I want her to see that you have to work hard to make sure you can afford the nice things in life and I would love for her to join me when she is a bit older so she has a chance to see the world. My wife does a great job in combining my management with looking after our daughter so I have the freedom to perform as much as I want. It is always hard to leave home but once on tour, it all makes sense to me.
THM: The concert here in Canada, at the Piranha Bar in Montreal on November 9, will also be an acoustic performance. Could you please give us an idea of the setlist? Are you also playing any cover songs from other bands, like Doctor Doctor from UFO, or are you playing your regular setlist with a mix of Blaze Bayley, Iron Maiden and Wolfsbane songs only?
BB: The set will be mainly Iron Maiden songs and maybe also a song from other bands. A lot will depend on the rehearsals as I won’t be performing with my own guitarist. I am looking forward to meeting Some of the Few.
THM: During your world tour in 2011 you played that amazing sequence of dark and heavy songs that are part of a story from Promise and Terror: Surrounded by Sadness, The Trace of Things That Have No Words, Letting Go of the World and Comfortable in Darkness. Are you considering playing the same songs all together again but in an acoustic performance? I know those songs are very important to you, so how do you feel when you play those songs live nowadays?
BB: The songs are great and I like to add them in a set but it sometimes doesn’t work out like that. For next year, I’d like to keep the set fast so they might not fit in there. Acoustic they sound great.
THM: You had to cancel your whole Canadian tour back in 2012, and now in 2013 you’re only going to play one single concert in Canada. How difficult is it for an independent artist like you to organize a full tour in different countries? And how do you see the future of independent bands/artists in the world of Heavy Metal and music in general in the short and long term?
BB: It has been extremely difficult to book a tour in the USA and Canada. The agent that booked the 2011 tour, turned out to be not reliable. I think I am just not popular enough over there to get a full tour together. Europe, South America and some other places are ok to get tours together. My manager, my wife, books all my shows with the help of some agents. Since I split up with my full metal band, it has become a lot easier for me to tour as I don’t have to worry if my band can do the show. I just found musicians for the gig instead of finding the gig for the band.
THM: One of your recent tours was together with classical guitarist Thomas Zwijsen, playing songs from his album Nylon Maiden as well as some material from your solo career and Wolfsbane. Are you planning on joining forces with other different types of bands and musicians for some unique projects in a near future? I would love to see you performing together with the guys from Apocalyptica or Van Canto, for example.
BB: Everything is possible. My main focus is of course my own shows, which is what always gets booked first. Then, if some other projects show up, we try to fit them in if it is something that interests me.
THM: What are your favorite bands from Canada? Are there any new Canadian bands that you would recommend us listening to?
BB: I must admit I don’t know many Canadian bands. I performed in the US with Man the Destroyer, who were great guys and I am now guest on Some of the Few so I would say, check them out!
THM: What type of music and/or what bands do you listen to when you’re at home by yourself and with your family? Does your daughter already understand what your music is, and do you play any of your songs for her?
BB: I play a very varied range of music. From folk, to country to pop and of course to heavy metal and rock. We play a lot of music in our house, and although not always metal, my daughter always spots out the songs where I am singing. You can tell she has got a natural feel for music and goes dancing every week too. I think she will be a very expressive and creative girl.
THM: You toured with Iron Maiden in Canada back in 1996 during The X-Factour and in 1998 during the Virtual XI World Tour. What do you remember from those visits to Canada? Was there anything crazy or unusual that happened at that time you would like to share with us?
BB: I remember the fans, they were absolutely crazy and amazing!
THM: Thanks a lot for your time, I really appreciate that. Please feel free to send a special message to your fans in Canada and also to invite them for your acoustic concert in Montreal on November 9 at the Piranha Bar.
BB: Thanks for the interview. I’d like to say a huge thank you to my fans in Canada! I often see their comments on facebook and their orders on the webshop and I would love to perform my own shows there!
“Happy, Happy Helloween” revolutionize music with the first Power Metal album of all time.
Many Heavy Metal bands such as Iron Maiden and Judas Priest already had pretty solid careers when Helloween started back in the 80’s, yet they became heavy music pioneers too when they released Walls of Jericho, the first Power/Melodic Metal album in the history of music. By the way, they have also made a lot of people confused ever since about the spelling of “Halloween” (with “A”) vs. the name of the band (with “E”).
Although Walls of Jericho was originally launched in 1985, this review also includes the extra songs added to the 1988 CD Edition from the 1985 EP/mini-LP Helloween and from the 1986 EP Judas for a very simple reason: they’re too good to be left out. Those extra songs are Starlight, Murderer, Warrior, Victim of Fate, Cry for Freedom and Judas, all very fast and heavy songs that at the time they were launched were a synonym for innovation in music. My favorite ones are Starlight and Victim of Fate, especially the first one with its unique intro and amazing riffs.
The intro to Starlight was taken from the movie Halloween III, and because it was so cool it became some kind of anthem sung by the Helloween fans before, during or after their live performances.
Of course, the “Silver Shamrocks” part is usually substituted by some generic “oh oh oh oh” by the crowd, but that doesn’t make the song less cool. Due to its great success, the same rhythm was used to generate the intro Walls of Jericho (with no lyrics, though), which opens all Helloween concerts until today.
Then comes one of the top moments of the entire album: Ride the Sky is powerful, it has some crazy riffs and solos, and the lyrics are excellent to sing especially live. The following tracks are not marvelous, but are very consistent and add a lot of value to the album, like Metal Invaders (despite its stupid name). And finally we have what I consider the best songs from the album: Heavy Metal (Is the Law) has those Manowar-ish lyrics, chorus and attitude, while How Many Tears is the most perfect Power Metal song I’ve ever heard in my whole life.
All band members were amazing in Walls of Jericho, mainly the amazing guitar, singer and composer Kai Hansen and the drummer Ingo Schwichtenberg (R.I.P.). Unfortunately they’re no longer with the band, but at least Helloween still has Michael Weikath and Markus Grosskopf to keep alive the flame of the most influential Power Metal band in the world. And let’s not forget that we also have another great band now, Gamma Ray, which is pretty much Kai Hansen playing the same type of music from Walls of Jericho since his departure from Helloween.
In summary, Walls of Jericho is a revolutionary album that has never been mainstream, nor will ever be, but that is mandatory for all music fans that enjoy fast riffs and solos, superb guitar duos, and songs with a lot of energy. Moreover, if you’re a metalhead and you don’t know if the correct spelling is “Halloween” or “Helloween”, follow my advice and always write it with “E” even when you’re talking about the celebration. It’s a lot more badass this way.
Best moments of the album:Starlight, Ride the Sky, Heavy Metal (Is the Law) and How Many Tears.
Worst moments of the album:Reptile and Gorgar.
Released in 1985 Noise Records
Track listing 1. Starlight* 5:17
2. Murderer* 4:26
3. Warrior* 4:00
4. Victim of Fate* 6:37
5. Cry for Freedom* 6:02
6. Walls of Jericho / Ride the Sky 6:45
7. Reptile 3:45
8. Guardians 4:19
9. Phantoms of Death 6:33
10. Metal Invaders 4:10
11. Gorgar 3:57
12. Heavy Metal (Is the Law) 4:00
13. How Many Tears 7:15
14. Judas** 4:43
* Originally released in the 1985 EP/mini-LP Helloween ** Originally released in the 1986 EP Judas
Band members Kai Hansen – vocals, guitar
Michael Weikath – guitar
Markus Grosskopf – bass
Ingo Schwichtenberg – drums
Are you looking for a creepy horror movie for Halloween? How about Slayer’s extremely “soft” first home video instead?
Continuing with the countdown to Slayer live in Toronto next month, I would like to give my opinion about one of the first VHS of my life. Back in the 90’s, MTV was growing and becoming more and more important, making almost all bands care a lot more about their videos rather than their own music. Fortunately, when we talk about Slayer the words “MTV” or “commercial” are rarely used, unless we add the prefix “non” in front of them, and that’s exactly what you’ll find in their debut home video called Live Intrusion: a high quality concert, full of heavy riffs and classic songs and that has almost zero commercial appeal to regular people, but for the band’s diehard fans it’s close to perfection.
Filmed at the Mesa Amphitheater in Mesa, Arizona on March 12, 1995 during Slayer’s “Divine Intourvention” around the US, and launched later that same year (there’s also a DVD version released in 2010), Live Intrusion is pure devastation, starting with the insane duo of Raining Blood and Killing Fields until the apocalyptic ending with Chemical Warfare. In fact, before the concert actually starts the video presents us that infamous footage of a guy having his arm scarified with the word SLAYER, then adding alcohol to it and setting it on fire, which in my opinion is the best “intro” of all time to a Thrash Metal concert. If this doesn’t pump you up for the rest of the video, maybe you should press stop and start watching the new One Direction movie instead, because for me this means you’re a total pussy!
Regarding the setlist, there are many long-forgotten songs from this concert that I would love to see slayer playing again live such as Killing Fields, Sex. Murder. Art. And 213. By the Way, I think they should reintroduce some songs from Divine Intervention, Diabolus in Musica and God Hates Us All in their current setlist, especially now that the band has Paul Bostaph back on drums, and I’m pretty sure Gary Holt would be able to play any of them easily. The fans would love to have even more power added to the mosh pits with some of the fastest songs from those albums.
One of the top moments of the entire show is when guitar/singer Robb Flynn (Machine Head) and drummer Chris Kontos (ex-Machine Head) join Slayer on stage to perform an incredibly heavy version of the song Witching Hour, from Black Metal pioneers Venom. The reaction from the crowd is absolutely insane! Speaking of which, the fans are crazy from start to finish, and instead of morons wasting their time filming the concert what we see are true metalheads screaming, bleeding and banging their heads non-stop in the middle of monstrous circle pits. Good times!
To sum up, Live Intrusion is an excellent opportunity to see Tom, Kerry, Jeff (R.I.P.) and Paul in top form executing perfectly many all-time classics from Slayer’s unparalleled career (what they do in War Ensemble and Angel of Death, for example, is beyond brutal) as well as some great unusual songs, complemented by an amazing crowd and some hilarious footage between some of the songs. So forget about pussies like Freddy Krueger, Jason or Michael Myers, and spend this Halloween enjoying some beers with your friends while watching one of the most bestial videos in the History of Heavy Metal.
Best moments of the video:Raining Blood/Killing Fields, At Dawn They Sleep, Dittohead and Witching Hour.
Worst moments of the video: Absolutely none.
Released in 1995 American Recordings
Track listing 1. Raining Blood 4:23
2. Killing Fields 3:56
3. War Ensemble 4:51
4. At Dawn They Sleep 5:03
5. Divine Intervention 5:33
6. Dittohead 2:50
7. Captor of Sin 3:21
8. 213 4:51
9. South of Heaven 4:58
10. Sex. Murder. Art. 1:50
11. Mandatory Suicide 4:03
12. Angel of Death 4:50
13. Hell Awaits 4:53
14. Witching Hour (Venom cover) 2:54
15. Chemical Warfare 5:17
Band members Tom Araya – bass, vocals
Jeff Hanneman – guitar
Kerry King – guitar
Paul Bostaph – drums
Holy shit, the intensity of this episode was insane! I don’t even know where to start (maybe by saying that there was no sign of Carol?). There was so much going on at the same time, so many characters giving outstanding performances, that it will be hard for the producers to surpass Internment in terms of action and adrenaline. And regarding our friend Hershel, he was a total badass dealing with walkers, kids and the virus, all at the same time, and finding time to even make some jokes. I think he deserves the “Spaghetti Tuesday” on Wednesdays now, if they can find some spaghetti anywhere.
And what about that “zombie massacre” provided by the dynamic duo of Rick and Carl? That was probably the start of a beautiful partnership between father and son, something that we have been all expecting from them since the TV show started. The look Rick gave to Carl when the kid was annihilating all those walkers with a machine gun was so cool! It was almost possible to see a very proud father pointing to his son and screaming to everybody else “You see him? You see how strong my son is? That’s my boy!” Let’s wait to see what happens next, but if the show follows the comics, this partnership will become stronger and stronger each day, guiding The Walking Dead to a “Rick and Carl” exclusive storyline, with no one else included except for the herds of zombies, of course. Based on what we saw last night, they’re more than ready for that.
THE HEADBANGING MOOSE 