Metal Chick of the Month – Haruka Morikawa

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A beautiful Japanese nightmare!

As we’re getting closer and closer to the end of another year of pure fuckin’ metal, let’s keep banging our heads nonstop to another extremely talented woman from the underground scene, this time hailing from Japan, or as several people like to call it, the “Land of the Rising Sun”. Easily switching between deep, demonic growls and an angelic, operatic voice, our metal lady of the month of November has been making a strong impact not only on the underground scene in her homeland, but her voice has been echoing all over the world and, therefore, attracting the attention of a wide variety of headbangers worldwide. I’m talking about Haruka Morikawa, also simply known as Haruka, the lead singer for Japanese Melodic/Symphonic Electro Death/Thrash Metal band Heterogeneous Andead, and just by the name of the band and the type of music they play you know you’re in for a treat in our humble tribute to such unique vocalist.

Born and raised in Japan, the skillful Haruka has been the voice of Tokyo’s own Heterogeneous Andead since April 2014, when the band’s current style reached its desired shape and form. However, the band was formed a little before that, though, starting as a project named Andead by founder and multi-instrumentalist Yusuke Kiyama in 2012, changing its name to Heterogeneous Andead in 2013 when they started playing some live concerts. Singing about caustic topics such as sorrow, grief and despair, Heterogeneous Andead have already released one EP and two full-length albums in their career, those being their 2015 debut EP Undead, the 2017 album Deus Ex Machina, and now in 2022 the album Chaotic Fragments, which will be reviewed by The Headbanging Moose sooner than you can say “Japan” and is already available for purchasing HERE. In addition to those, the band was also featured in the compilations Fear Candy 150 (Terrorizer Magazine, 2015), 嘘。(BM Records, 2015), Bad Wish (BM Records, 2015), Halloween – Trick Or Treat (BM Records, 2015), Imperative Music Compilation DVD Vol. 14 (Imperative Music, 2017), and Metal Japan Heavy Chains Vol.5 TieUp ConneXion #2 (Metal Japan Records, 2019).

Heterogeneous Andead have been suffering with several lineup changes lately, with guitarist Sho and bassist Takashi Onitake leaving the band in December 2021 and drummer Tomoyuki Nakano also leaving the band in July this year, which means Yusuke and Haruka are currently searching for a guitarist, a bassist and a drummer to join them in their quest for heavy music. I’m sure they’ll find some talented musicians to be part of the band soon, and until then you can enjoy Haruka’s unique vocals in the official videos for the amazing songs Denied, Automaton and Fission, as well as live recordings of the songs Demise of Reign, Flash of Calamity and Denied live at WildSideTokyo on September 16, 2019, and Unleashed live on February 11, 2017 at Shinjuku Head Power. Furthermore, you can always stream all of the band’s creations on Spotify as well.

An admirer of Classical Music, Jazz, Electronic Pop, Brutal Death Metal and Grindcore, the stunning Haruka doesn’t only mesmerize us all with her mezzo-soprano vocals, singing like an angel, and with her guttural growls and screeches, sounding like a devil, but she also makes sure her looks on stage are in sync with the music being played. According to her bandmate Yusuke, the concept of costumes is basically darkness or gorgeousness influenced by Japanese visual kei, a movement among Japanese musicians that is characterized by the use of varying levels of make-up, elaborate hair styles and flamboyant costumes, often, but not always, coupled with androgynous aesthetics, similar to Western Glam Rock. Simply watch the aforementioned videos of the band, as well as their live performances, and you’ll see the incredible fusion of music and visuals in their creations.

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Owner of a natural Anime voice (according to the band itself), when asked about how she manages to go from her growls to her mezzo-soprano voice (and back) in seconds without having any sort of vocal issues, Haruka said she has already found the perfect way to switch from one style to another, complementing she has never lost her voice due to that extreme change. In one of her interviews our beloved vocalist said that although she didn’t feel her voice was the most remarkable piece of her identity in the beginning, she now understands and feels the power of her voice as part of her character, saying that it was Yusuke who inspired her to sing both harsh and clean vocals when she first joined the band. It was a challenge for her at first, of course, but Yusuke made sure he adapted part of the band’s style to match with her abilities, resulting in a win-win situation for both him and Haruka as the music by Heterogeneous Andead sounds fantastic nowadays. If you’re in Japan you might be lucky enough to witness them playing live, which occurs only once or twice a month, and despite not filling up big venues yet they certainly have a decent amount of followers that always attend their concerts.

Regarding the metal scene in Japan and how well their unique type of Extreme Metal is accepted in the country, Haruka mentioned during an interview that she can see metal bands having issues playing in countries or regions where the catholic church is very strong, but that’s not a problem in Japan as most of the Japanese population doesn’t follow any religion (or at least they don’t follow it blindly, I might say). What’s interesting is that Haruka is a Protestant Christian herself (and she mentioned only 1% of the country is Christian, by the way), but fortunately music and religion are not connected in any particular way in Japan. She also said that because she follows a Christian way of living she believes she can better express herself when singing with Heterogeneous Andead, externalizing all the sorrow and grief from the lyrics in great fashion.

You can watch a few fun and informative interviews on YouTube with Haruka, who’s by the way a big fan of our beloved monster Godzilla. For example, you can enjoy this nice interview to Antichrist Magazine in 2018 where Haruka and Yusuke talk about their previous album Deus Ex Machina; and this one to the Argentinian webzine Territorio Rock, also in 2018. And last but not least, anytime you watch a live performance by Haruka with Heterogeneous Andead you’ll certainly notice her movements are very theatrical, adding an extra touch of finesse to the overall result. The reason for that is that not only Haruka was part of plays and musicals when she was a student, but she also practiced Aikido, a modern Japanese martial art that is split into many different styles, during her childhood, allowing her to improve the visual effects of her personal performance while singing at the same time. In other words, don’t mess with Haruka or you’ll get your ass kicked, got it? Simply relax and enjoy her unique vocals to the fullest, proving how much Japan is and will always be one of the most creative countries in the world when the music in question is Heavy Metal.

Haruka Morikawa’s Official Twitter
Heterogeneous Andead’s Official Facebook page
Heterogeneous Andead’s Official YouTube channel
Heterogeneous Andead’s Official Twitter

Album Review – Lamb of God / Omens (2022)

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Ignore the omens and listen to the pulverizing new album by one of the best and most dynamic metal bands of the past two decades.

Two years after the release of their excellent self-titled album, Richmond, Virginia’s own Groove Metal institution Lamb of God is back in action with another magnificent release entitled Omens, the ninth studio album (eleventh if including those under the name Burn the Priest) in their undisputed career. “If anybody paying attention to the state of the world over the last few years isn’t angry, I have nothing to say to them,” commented the band’s frontman D. Randall “Randy” Blythe about the generally pissed-off tone of their new album. Recorded and produced by Josh Wilbur, mastered by Ted Jensen at Sterling Sound, and featuring a stylish artwork by K3n Adams, Omens offers us all 40 minutes of sheer aggressiveness and groove by the aforementioned Randy Blythe and his henchmen Mark Morton and Willie Adler on the guitars, John Campbell on bass, and Art Cruz on drums, cementing their name as one of the most important forces of the current metal scene worldwide.

Sheer groove flows from the very first second in Nevermore, a solid tune where Mark and Willie’s axes are flawlessly supported by the rumbling bass by John, and the band keeps hammering their weapons in great fashion in Vanishing, sounding visceral and exciting as good Groove Metal should be with of course Randy kicking us in the head with his visceral roars, not to mention the awesome job done by Art on drums. Then let’s bang our heads nonstop to the groovy and heavy-as-hell To the Grave, showcasing another dynamic kitchen brought into being by John and Art while the guitars exhale fire and animosity; followed by the high-octane Ditch, bringing forward an extremely fun chorus to sing along with Randy (“You’re face down, down in a ditch that you dug yourself / You can live and die by the hand you’re dealt / Unwound consequence and you can never tell / Live or die by the hand you’re dealt”) while his bandmates deliver a flawless, infuriated Groove Metal extravaganza for admirers of the genre. And the title-track Omens is another superb moment of the album, a lecture in contemporary metal music by Lamb of God where Mark and Willie extract endless aggressiveness from their guitars while Art shows no mercy for his drums.

Slowing things down a bit while investing in pure heaviness, it’s time for us all to break our necks headbanging to the sound of Gomorrah, with Randy barking and screaming manically nonstop, and there’s no time to breathe thanks to the massive beats by Art in Ill Designs, another violent hybrid of Groove, Thrash and Death Metal where the riffage by the band’s guitar duo is tailored for slamming into the pit. Putting the pedal to the metal, Randy & Co. deliver a humongous dose of heaviness and rage in the form of Grayscale, where John makes sure the earth trembles to the sound of his thunderous bass, whereas in Denial Mechanism we’re treated to another round of the band’s trademark acid lyrics (“A pathetic birth of the end times / Slowly creeping to the final deadline / No fairytale on a movie screen / Just slow collapse beneath our gluttony”) amidst a hurricane of metallic sounds perfect for their incendiary live concerts. Lastly, the band offers us all the introspective September Song, which morphs from a very serene sonority into the band’s usual madness while its background keys add a touch of epicness to the overall result, putting a climatic ending to the album.

Fortunately for all of us with serious budget restrictions the band made Omens available in its entirety on YouTube and on Spotify, but of course if you have some extra money to spend on music you can click HERE and grab your favorite version of such intense album of modern-day heavy music. Also, don’t forget to follow the band on Facebook and on Instagram for news and tour dates (and believe me, if you’ve never seen Lamb of God live you don’t know what you’re missing), to subscribe to their YouTube channel, and to stream all of their wicked creations on Spotify. “We’re being marketed and sold falling skies, doom and gloom and all this end-of-days material. That stuff makes wonderful fodder for metal music,” said Randy, and we must all agree that although our world might be reaching its inevitable and sinister fate soon, at least Lamb of God will keep absorbing all that darkness and turning it into first-class music for our total delight until the very end of all days. Well, as the band itself says in their new album, fuck it all, ignore the omens.

Best moments of the album: Vanishing, Ditch, Omens and Denial Mechanism.

Worst moments of the album: Gomorrah.

Released in 2022 Epic Records/Nuclear Blast

Track listing
1. Nevermore 4:35
2. Vanishing 4:48
3. To the Grave 3:43
4. Ditch 3:37
5. Omens 3:47
6. Gomorrah 4:12
7. Ill Designs 3:41
8. Grayscale 3:59
9. Denial Mechanism 2:37
10. September Song 6:00

Japanese Edition bonus track
11. Evidence 3:50

Band members
D. Randall “Randy” Blythe – vocals
Mark Morton – guitar
Willie Adler – guitar
John Campbell – bass
Art Cruz – drums

Guest musicians
Ernie C, Juan Garcia, Wes Eisold, Toby Morse & Sara Taylor – gang vocals on “Omens”

Interview – Konstantin Shepes (Lifetaker)

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Lifetaker

***Interview by Luke Hayhurst, writer for Morbid Wings (Print) Zine, VM Underground Fanzine and Doom-Metal.com***

Luke Hayhurst: Greetings Konstantin and to all of Lifetaker. How is life right now in Germany?

Konstantin Shepes (Lifetaker): Hey Luke, thanks for having us! Since we can not speak for every soul living in this country. Indeed; to us life seems quite bearable at the moment because we are stoked about our new record that came out on Friday!

LH: I won’t lie, until you messaged me about your new album I had not heard of Lifetaker. With that in mind, can you tell me about the genesis of the band? How you came into existence, and how you came to choose the provocative name, Lifetaker?

KS: Lifetaker was formed back in 2018, and we’ve known each other for years. However, we played in different bands up until this point. So, forming Lifetaker became a lucky twist of fate in a way. The band turned out to subjectively fulfill every aspect of being in a band that each member was missing at some point in the past. So, the genesis of Lifetaker lies in the fact that four dudes who share the same vision on art and musical direction happened by mere accident.

You are right! The name itself may appear kind of provocative but so does the music!

LH: You are about to unleash an absolute colossal panzer attack of a second album entitled ‘Der Letzte Raum’ which translates into English as The Last Room. What can you tell me about the concept behind the album name?

KS: We went with “Der letzte Raum” because we thought it’s a decent allegory for the word “crypt” and at the same time the title is not over-explaining things to the listener. On the other hand, it made sense to choose a German title since the songs are performed in German. This is an idea we finally decided to do on this record because it allows us to put lyrics to songs that the songs deserve. Overall, the record is not meant to follow a specific concept. Every song stands on its own.

LH: I’m intrigued by the artwork for the new album. Who designed the piece and what instructions did you give them? How happy are you with the final piece?

KS: The artwork for “Der letzte Raum” is an actual painting by the Russian artist Veronika Polonskaya. We loved it at first sight and worked things out so no instructions were needed.

LH: I mentioned in my review that I’m not massively well versed in the style you play. You combine the very best elements of Grind, Sludge and Hardcore. Which bands would you say are direct influences to the Lifetaker sound?

KS: To be honest, and by saying this I am really honest… We are not influenced by any band out there. We love music to the fullest, of course we do, and we listen to a lot of stuff out there for sure. But, over the years we figured out that being influenced by other artists leads to nothing but the past. We record all the time and besides the records we have already put out, there is an uncountable amount of b-sides on our hard drives that never made it on a record. What drives us is vaguely motivated by music. It is more likely that we let things happen naturally based on our experiences as artists, as musicians, as human beings…true to the motto: If it feels right, it is right. By saying this, I mean that there is not a lot of overthinking going on and we do not plan everything down to the last detail. When you think of a Lifetaker record, and everything that lies beyond, you can think of a car crash. Things happen when you do not expect them to happen!

LH: I saw on your social media that you describe yourself as an anti-fascist band. Do you consider yourself a politically influenced band and how does that channel into your work?

KS: To our understanding anti-facism, or identifying as an anti-facist band, means that you are embracing the future with a healthy mindset and respect for your environment. And the people you are surrounded by, no matter who they are and where they come from. Lifetaker is not meant to be a political band because we prefer the subject of art over the subject of politics. In my opinion, there is no such thing as political art. It is always art, or politics, never both. The moment you try to inject your political taste into art, you are a politician and not an artist. This is what propaganda means. As a band, we really don’t feel like betraying the potential of art because of propaganda that is based on nothing but personal taste. Overall, political views are never channeled into our work.

Album Review – Lifetaker / Der letzte Raum (2022)

LH: Have you had any dealing with bands of a fascist nature? How prevalent in Germany would you say National Socialist ideals are within the music scene?

KS: No, we never had to deal with artists or bands of fascist nature and never will. We do not deal with facism, we smash it!

Concerning National Socalist ideologies within the German music scene. I would say there are people who do not make a secret out of it and are proud to carry these ideals. And there are people who flirt with these ideals but would never admit it in public.

In both cases, the only thing we as a band can say is fuck them!

LH: Getting back to your music. You released your debut album ‘Night Intruder’ back in 2020. How do you feel your sound has progressed since your first album going into your second?

KS: The sound has progressed in a way that we have managed to let go and get rid of certain aspects that are not necessary. The overall statement of a song/record is based on how we have pictured it before recording. Compared to our debut, the new record is straight to the core madness! Both in sound and songwriting, you will find a more punk and noise inspired approach to it.

LH: You have released the new opus on a great looking LP through Black Omega Recordings, who also released your first album. How did this collaboration come about? Why did you decide to stay with the same label?

KS: John who runs Black Omega Recordings used to be the vocalist for a band that I am friends with. At the time, Lifetaker was looking for a label when it came to the release of Night Intruder. We asked John if he would be interested in releasing the record. Since John is a really cool guy, who shares the same views and beliefs, plus the fact that he obviously must have enjoyed the record, it came to the collaboration that lasts until today.

The fact that we stay with the same label is based on the principle that we only work with people who share the same vision and who are truly dedicated towards what they do. We like authenticity, that is why we go with Black Omega Recordings and Lower Class Kids Records.

Lifetaker

LH: Do you take much notice of your local music scene? Are there any bands local to you that you feel people should be paying more attention to?

KS: Sure, we always keep an eye open for what is going on right now! We would love to shout out our friends in Isocult. Check them out, they definitely deserve more attention. It is your way to go if you are into cold post/wavy electronic tunes!

LH: What are the upcoming plans for Lifetaker once the album is unleashed? Will you be touring the new album? How hard is touring right now in Germany, what with the current energy crisis?

KS: We have already started working on new material for future releases. Hopefully we’ll be able to properly tour the new album since COVID-19 made it nearly impossible to play live for the past two years. Furthermore, we hope that the energy crisis will not get us in too much trouble. We are constantly working on things so that we can do what we love most, play live! Let’s see what the future holds for us.

LH: That is all I have for you. Thanks again for taking the time to answer my questions. I shall leave the final words for you.

KS: All the best to you and everyone out there! Stay safe!

Links
Lifetaker Facebook | Instagram | Linktree | Spotify | BandCamp | YouTube

Concert Review – Trivium (Rebel, Toronto, ON, 10/25/2022)

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The awesome night where Trivium switched from being an Orlando band to a Toronto band. 

OPENING ACT: Khemmis, Whitechapel and Between The Buried And Me

My last concert of such intense month of October couldn’t have been any better, as the city of Toronto hosted a fantastic night of modern-day metal with the Deadmen And Dragons Tour at Rebel, with the bands KHEMMIS, WHITECHAPEL, BETWEEN THE BURIED AND ME and the al-freakin’-mighty TRIVIUM proving that heavy music is still alive and kicking as opposed to what several “experts” say about it. It was a very comfortable night temperature-wise and the venue is awesome for concerts like that, with the only problem being as always their parking lot, which made several fans wait for over one hour to be able to get out of it as soon as the concert was over. Well, it is what it is, so let’s focus on the music which is what really matters in the end.

The first band to hit the stage at around 6:55pm was Denver, Colorado-based Doom Metal act KHEMMIS, which also opened for Mastodon and Opeth a few months ago, still promoting their 2021 album Deceivers. Their setlist might have been short but it was very cohesive and electrifying, inspiring an already big crowd to slam into the pit to their doomed and heavy creations. It was my second time seeing Khemmis, this time from the very beginning, and not only I must say I was impressed with their energy throughout their entire set last night, but I also think everyone at the venue felt the same chemistry with the band. If that’s not an invitation for Khemmy to keep coming back to Toronto, I don’t know what would be.

Setlist
Avernal Gate
Three Gates
Sigil
Isolation
A Conversation with Death

Band members
Ben – vocals, guitars
Phil – vocals, guitars
David Small – bass
Zach – drums

After a quick bathroom/beer break, Knoxville, Tennessee’s own Deathcore outfit WHITECHAPEL began their sonic attack for the delight of several diehard fans of the band at Rebel, and it was indeed a ferocious performance by frontman Phil Bozeman and his horde. From the opening tune I Will Find You, from their 2021 album Kin, to the closing moments of Doom Woods, Whitechapel drove the fans insane into the pit, with the whole band sounding on absolute fire specially during newer songs the likes of Lost Boy and A Bloodsoaked Symphony. Excellent performance by a band that I’ve never been into that much, but that I will surely give a few more listens in more detail in the near future.

Setlist
I Will Find You
Anticure
Lost Boy
Orphan
This Is Exile
A Bloodsoaked Symphony
Doom Woods

Band members
Phil Bozeman – vocals
Ben Savage – lead guitars
Alex Wade – guitars
Zach Householder – guitars
Gabe Crisp – bass
Ernie Iniguez – drums

The most “meh” moment for me of the entire night was the performance by Raleigh, North Carolina-based Progressive Metal band BETWEEN THE BURIED AND ME, which despite being very technical and precise in what they do, their setlist sounded a bit confusing and tiresome. The songs Revolution in Limbo and Never Seen/Future Shock, from their latest album Colors II, were played to perfection, but at least for me they lack that spark or special element that would make them truly entertaining live. There were a lot of BTBAM fans at the venue enjoying the show, though, maybe due to a different type of connection they have with the band, but as I said several people at the venue didn’t enjoy the band as much as they had fun with Whitechapel.

Setlist
Sun of Nothing
Revolution in Limbo
Extremophile Elite
Never Seen/Future Shock
The Future Is Behind Us

Band members
Tommy Giles Rogers – lead vocals, keyboards
Paul Waggoner – lead guitar, backing vocals, additional lead vocals
Dustie Waring – rhythm guitar, additional lead guitar
Dan Briggs – bass, keyboards
Blake Richardson – drums, backing vocals, additional lead vocals

TRIVIUM

Finally, at around 9:50pm, the lights went out and the DJ played Iron Maiden’s hit Run to the Hills through the speakers, inspiring everyone at Rebel to sing its iconic lyrics as a cool warmup for Orlando, Florida’s own Heavy Metal institution TRIVIUM. It was a nice moment for me personally as I had just seen Iron Maiden live in Newark last Friday, so that “bridge” from one band to another sounded really awesome to my ears. Then after the intro IX, Matt Heafy, Corey Beaulieu, Paolo Gregoletto and Alex Bent began kicking some serious ass with the excellent What the Dead Men Say, winning the hearts of everyone at the venue instantly.

In case you might be asking yourself why the tour is called Deadmen And Dragons Tour, that’s because when What The Dead Men Say was released back in 2020 we were in the middle of the pandemic, so there wasn’t a proper tour to promote that album before they released in 2021 the brilliant In the Court of the Dragon. That being said, their setlist was a fusion of both albums with a few old school hits the likes of Like Light to the Flies and To the Rats, resulting in a much better and obviously longer setlist than the one they played in Toronto opening for Lamb of God and Megadeth back in May.

Matt was really, really excited with the amount of people that went to see them last night and of course with the warm reception they had, reminding us all about their early days when no one knew what Trivium were in Canada. He kept saying in between songs he’s amazed with what the band and their Torontonian fans have built together, saying the crowd was so rowdy and vibrant to the point Trivium could switch from being an Orlando band to a Toronto band. I have no idea how loud their fans were in Calgary and other Canadian cities, nor how loud they’ll be tonight in Montreal, but yesterday was indeed a very special night for the band based on all mosh pits, screams and horns raised while they played pulverizing songs such as Amongst the Shadows & the Stones, In the Court of the Dragon and A Gunshot to the Head of Trepidation, which by the way wasn’t played in most (or any) of their dates this tour.

By the way, Matt asked the band to stop playing In the Court of the Dragon right in the middle of it due to two stupid idiots that were about to start a fight in the circle pit. He asked them to split and stop with the fighting just like what he tells his four year-old twins, which was a funny moment that I’m sure no one at the venue will ever forget, in special those two idiots. Another thing that I find impressive is that their fans love their newest songs just as much as their old ones, with The Heart From Your Hate being one of the most special moments of the night alongside Shogun and In Waves. So now as promised, Matt, as Trivium “became” a Toronto band we want to see you guys playing ten or more concerts only in Ontario on the next tour, alright? We will be waiting for you with open arms, no doubt about that.

Setlist
Run to the Hills
IX
What the Dead Men Say
Into the Mouth of Hell We March
The Sin and the Sentence
Like Light to the Flies
Amongst the Shadows & the Stones
Chaos Reigns
The Shadow of the Abattoir
X
In the Court of the Dragon
To the Rats
The Heart From Your Hate
Shogun
A Gunshot to the Head of Trepidation
Capsizing The Sea
In Waves

Band members
Matt Heafy – lead vocals, guitar
Corey Beaulieu – guitar, backing vocals
Paolo Gregoletto – bass guitar, backing vocals
Alex Bent – drums, percussion

Album Review – WitcheR / Lélekharang (2022)

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A talented Hungarian duo brings to our avid ears Atmospheric Black Metal in its most magical form, entrancing the senses with its yearning for things lost to the relentless march of progress.

Steeped in the folklore and ancient beliefs of their homeland, Lélekharang, which translates as “soul bell”, is the third full-length opus by Szombathely, Hungary-based Atmospheric Black Metal duo WitcheR, dedicated to fans of Summoning, Wolves in the Throne Room and early Dimmu Borgir. Recorded at Vrag’s Forest Studio, engineered, mixed and mastered by WitcheR themselves, and displaying a stylish artwork by Grafit és Hamu, Lélekharang is Atmospheric Black Metal in its most magical form, entrancing the senses with its yearning for things lost to the relentless march of progress, all carefully brought into being by Karola Gere on vocals and synths, and Roland Neubauer (aka Vrag) on vocals, guitars and drums, leading you through the forests of memory to a place where all that was lost is found once more.

The gentle, atmospheric piano by Karola will embrace us all in the album’s Intro, transporting our souls to the Stygian realm ruled by WitcheR in Hamvak (or “ashes” from Hungarian), exploding into stunning Atmospheric Black Metal where Roland extracts anguish and fear from his riffs while at the same time he dictates the pace with his stylish beats. Moreover, the duo offers us demonic gnarls and endless obscurity throughout the entire song, making it even more compelling; followed by the title-track Lélekharang, an even more enfolding, atmospheric aria by such talented Hungarian duo, with its beautiful background elements and the synths by Karola adding an extra Stygian touch to the overall result, creating a fantastic paradox with the scorching riffage by Roland. Csendesen (“silently”) offers us all seven minutes of majestic passages, imposing synths and drums, and all the energy that only Atmospheric Black Metal can bring to our avid ears, sounding truly enticing from start to finish, and as expected the duo fires another sensational explosion of their fusion of Black and Doom Metal with pure atmospheric elements entitled Hazatérés (“homecoming”), where their deep, devilish roars are spiced up by the razor-edged riffs and hammering drums by Roland, flowing into their delicate cover version for Moonlight Sonata Op. 27. No. 2. I. Adagio sostenuto by Ludwig van Beethoven ( check the original version HERE), putting a climatic finale to the album.

The brand new spawn of obscurity by WitcheR can be fully appreciated on YouTube and on Spotify, but of course you should show your utmost support to the duo and purchase the album from their own BandCamp page, from the Filosofem Records’ BandCamp page, or from the Beverina Productions’ BandCamp page, and don’t forget to also follow the band on Facebook, Instagram and VKontakte, to subscribe to their YouTube channel, and to stream all of their unique creations on Spotify. The bells of Atmospheric Black Metal are tolling majestically thanks to the amazing job done by WitcheR in their new album, taking the Hungarian underground to new heights and leaving us all eager for more of their music in the near future.

Best moments of the album: Lélekharang and Hazatérés.

Worst moments of the album: None.

Released in 2022 Filosofem Records/Beverina Productions/Casus Belli Musica

Track listing
1.Intro 1:48
2.Hamvak 7:44
3.Lélekharang 10:16
4.Csendesen 6:58
5.Hazatérés 9:20
6.Moonlight Sonata Op. 27. No. 2. I. Adagio sostenuto (Ludwig van Beethoven cover) 3:24

Band members
Karola Gere – vocals, synths
Roland Neubauer – vocals, guitars, drums

Concert Review – Iron Maiden (Prudential Center, Newark, NJ, 10/21/2022)

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Another night of pure Iron Maiden madness hit the nice city of Newark as the band approaches the end of their fantastic 2022 tour.  

INTRO: Liberty and Prosperity… but no FTTB!

What wild, wild two weeks (or maybe I should say the entire month of October) of pure fuckin’ metal! After winning the renowned (and sometimes controversial) First to the Barrier in all three Canadian dates this year, I didn’t get it for the Legacy of the Beast World Tour 2022 concert at the Prudential Center in Newark, New Jersey last Friday, which motto is by the way “Liberty and Prosperity”, but to be fair I think the experience of meeting my fellow IMFC blood brothers and sisters before the gig was even more engaging and fun. The place chosen for our meetup was Bello’s Pub & Grill, located a short walking distance from the venue, and I loved meeting some new friends there while enjoying a beer, talking about Iron Maiden and metal in general, and so on. Furthermore, knowing that some people lined up for the FTTB at 6am and still got number 30 made me even happier for not winning it this time and being able to go to the meetup. And once again I made it to the flags picture! How cool is that?

OPENING ACT: Within Temptation

After our nice IMFC meetup, the crew headed to the Prudential Center for a look at the merch, some beers and some relaxing moments before Iron Maiden hit the stage once again with their fulminating Heavy Metal. The opening act was as expected Dutch Symphonic Metal/Alternative Rock band WITHIN TEMPTATION, who not only made a couple of changes to their setlist compared to their Canadian dates, but the stunning Sharon den Adel finally ditched that “dark princess” attire with a very tight corset for a more rockin’ style, wearing leather pants and jacket, and I think she looked a lot more relaxed and dynamic on stage by wearing that. Their concert was again short and sweet, with the song Raise Your Banner being once again one of the top moments of their performance. I’m not sure how much the Iron Maiden fans from New Jersey enjoyed Within Temptation as their reaction wasn’t as rowdy as in Ottawa, but it was a decent show in the end.

Setlist
The Reckoning
Paradise (What About Us?)
In the Middle of the Night
What Have You Done
Supernova
Don’t Pray for Me
Raise Your Banner
Mother Earth

Band members
Sharon den Adel – vocals
Robert Westerholt – guitars
Ruud Jolie – guitars
Stefan Helleblad – guitars
Jeroen van Veen – bass
Martijn Spierenburg – keyboards
Mike Coolen – drums

IRON MAIDEN

My last concert of the current Legacy of the Beast World Tour 2022 couldn’t have been more special, as I was reunited with one of my best friends to see the almighty IRON MAIDEN for the first time together since 2013, and of course the band didn’t disappoint at all. Everyone at the venue had an amazing moment from the first seconds of the opener Senjutsu with its Samurai Eddie to the closing moments of Aces High, with classics such as Revelations and Hallowed Be Thy Name driving the fans absolutely crazy. Bruce was simply phenomenal on vocals throughout the entire show, as well as of course the rest of the band armed with their sonic weapons, making New Jersey lose its breath on another night of pure awesomeness.

Anything I say about the band’s guitar triumvirate won’t represent exactly how in sync, incendiary and precise they are, but in New Jersey our beloved Adrian kicked some serious ass with his axe, with his intro to The Writing on the Wall being a thing of beauty once again. And Steve and Nicko, holy shit, I thought the roof of the Prudential Center was going to fall due to the insane heaviness flowing from their respective bass and drums. I wish I could attend another concert before their last one in Tampa, Florida this Thursday October 27, but that’s not a problem at all. There’s a new tour coming up in 2023, so who knows? It’s just a matter of planning a decent trip to Europe or wait for the probable announcement of the North American leg soon.

And before I go, I wanted to mention one weird and dangerous incident that happened during the gig according to some members of the IMFC. As I was a little further back I didn’t see anything, but several people mentioned that there was a guy in the floor section carrying a handgun that became visible while he was crowdsurfing. I know it’s the United States and people love guns from the bottom of their hearts there, carrying guns anywhere they go, but having one during a concert with over 15,000 people was very immature and irresponsible of him. Maybe he wasn’t going to shoot anyone, but what if someone caught his gun and decided to do so? And how did he manage to go through security with a handgun while several fans, including myself, had to take even their belts off to be allowed into the venue? Is a belt more dangerous than a gun? Anyway, fortunately nothing bad happened and we all had a great time enjoying Iron Maiden in 2022, and now it’s time to get ready for The Future Past Tour in 2023!

Setlist
Transylvania
Doctor Doctor
Senjutsu
Stratego
The Writing on the Wall
Revelations
Blood Brothers
Sign of the Cross
Flight of Icarus
Fear of the Dark
Hallowed Be Thy Name
The Number of the Beast
Iron Maiden

Encore:
The Trooper
The Clansman
Run to the Hills

Encore 2:
Churchill’s Speech
Aces High
Always Look on the Bright Side of Life

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

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Album Review – Lifetaker / Der letzte Raum (2022)

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***Review by Luke Hayhurst, writer for Morbid Wings (Print) Zine, VM Underground Fanzine and Doom-Metal.com***

Prolific Grind/Hardcore/Sludge quartet Lifetaker have returned with a sophomoric full length album entitled Der Letzte Raum (“The Last Room”) which will see the light of day later this month on an impressive looking LP, put out via Black Omega Recordings.

If you are going to call yourself Lifetaker you damn sure best have a sound to match the statement, and these German chaos merchants go about proving their mettle over the course of fifteen short sharp bursts of violence incarnate. I’m not massively well versed in either Grindcore or Hardcore so I’ll instead spend my time telling you how the album sounds rather than trying to unpick the bands myriad influences.

And what it sounds like is what I imagine having your face forcibly dragged along a cobbled street at a hundred miles per hour might sound like. A violent uncontrollable maelstrom of bludgeoning beats, Buzzsaw riff-age and a vocal style from the gutters, spewing forth bile and spite at every available moment. And yet at times Lifetaker produces moments of pure unadulterated fist pumping madness such as the delightfully catchy Kehlbiss or the equally as fun sounding Kadaverstille which are surely destined to be pit favourites at any upcoming shows that the band grace.

An absolutely banger of an album from start to finish; chaotic and carnage filled, viciously spiteful and intoxicatingly gratifying. Like a Panzer tank belligerently bulldozing your house and making you ask for more! Plug this directly into my veins and leave me to it!

Released in 2022 Black Omega Recordings

Track listing
1. Bunkerjugend 1:33
2. Patrizidprotokoll 2:31
3. Fleischwolf 1:37
4. Strafisolator 1:11
5. Alpha Antichrist 1:02
6. Kehlbiss 1:05
7. Störfunk 0:49
8. Kadaverstille 1:25
9. Blutopfer 2:05
10. Gottgeburt 1:22
11. Madenvolk 0:55
12. Schlafparalyse 1:42
13. Tempelfaust 1:49
14. Vernichtungstanz 2:22
15. Gamma Mörser 2:15

Band members
Konstantin – vocals
Alex – guitars
Gerrit – bass
Nico – drums

Links
Lifetaker Facebook | Instagram | Linktree | Spotify | BandCamp | YouTube

Concert Review – Accept (The Phoenix Concert Theatre, Toronto, ON, 10/16/2022)

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How can a band play without their lead singer and still sound awesome? That’s exactly what the mighty Accept delivered to the city of Toronto on one of the weirdest concerts the city has ever seen.

OPENING ACTS: Jugular, Rustik, Korrosive and Narcotic Wasteland

As I had just returned from Ottawa after seeing Iron Maiden kick some ass again, I had the “mission” to gather all the energy left in me after almost five hours on the road to head to Toronto to see the one and only German Heavy Metal institution ACCEPT deliver the purest form of Heavy Metal you can think of during their Too Mean To Die Tour 2022, and because of that I was extremely late to The Phoenix Concert Theatre and missed ALL opening acts, those being Barrie, Ontario’s Heavy/Thrash Metal band JUGULAR, Toronto, Ontario’s Hard Rock squad RUSTIK, Toronto, Ontario’s Thrash Metal horde KORROSIVE, and South Carolina’s own Death Metal outfit NARCOTIC WASTELAND. I’m really sorry, guys, but my body was asking for some rest, otherwise I would have simply passed out during one of the opening shows. Those bands are amazing, though, and if you enjoy exploring the underground I would highly recommend you go after their music, in special Narcotic Wasteland if you’re a diehard admirer of old school Death Metal.

ACCEPT

It was 9:30pm on a nice and not-so-cold night in Toronto when the mighty ACCEPT hit the stage at The Phoenix Concert Theatre, but it wasn’t their regular concert where the lights would go out and the entire band would start kicking ass with the song “Zombie Apocalypse”, from their 2021 opus Too Mean To Die. What we got was all bands members except Mark Tornillo walking to the stage with the lights still on, with Mr. Wolf Hoffmann grabbing the microphone and saying “as you can see we’re one man down”, explaining Mark had some very serious vocal issues, being prohibited to sing just 20 minutes before the concert otherwise his doctor said he could lose his voice forever. Wolf then asked if we were still OK to have a concert even without their lead singer, saying they would share the vocal duties among themselves and also ask for our help to sing along with them. Well, we were all there eager for some Accept, so what happened next was one of the weirdest and most unique live concerts ever.

Imagine five extremely talented and hardworking musicians playing first-class metal music from the bottom of their (metal) hearts, trying to sing their songs as best as they could, with no frontman to lead the crew. Is that a recipe for a massive failure? Maybe for another band, but not for Accept, who were absurdly professional and gave all they had to entertain their Torontonian fans. It was a much shorter setlist than their usual one, with all songs form their latest album being removed from their performance (probably because none of the band members could sing those), but at least we were smashed by an avalanche of classic the likes of Restless and Wild, Fast as a Shark, Metal Heart, Teutonic Terror, and of course, Balls to the Wall. Wolf was fantastic, brilliant, charismatic and perfect from start to finish, with his guitar screaming Heavy Metal and invading our minds and souls majestically. However, the man of the night for me was drummer Christopher Williams, who not only hammered his drums in great fashion the entire night, but he was the one responsible for most of the vocal parts, making his job even harder but at the same time more fun to watch. Mr. Christopher Williams, you’re a true metal beast! Thank you!

When the show was over after around only one hour there was of course a sense of frustration among some of their fans at the venue, but at the same time a lot of respect and admiration for the band for delivering a really good show even after the disastrous news shortly before their time to hit the stage. Of course I would have loved to see Mark Tornillo roaring in our faces on stage, but health always comes before any type of entertainment. I wish Mr. Tornillo a fast recovery, and may he come back screaming in the name of Heavy Metal faster than a shark. And did I mention there were plenty of mosh pits during Accept’s eccentric performance? That only shows how much those guys were professional and incendiary, inspiring some of the fans at the venue to crush their skulls into the pit even without a lead singer on stage asking them to do so. Hopefully the band will make up for such weird night on a not-so-distant future, returning to Toronto with a bigger, faster, heavier and more infernal set, but for now all I can say is that I’m proud to be an Accept fan, a band that will never surrender and always keep on fighting in the name of Heavy Metal.

Setlist
Restless and Wild
Hung, Drawn and Quartered
Midnight Mover
Demon’s Night / Starlight / Losers and Winners / Flash Rockin’ Man
Fast as a Shark
Metal Heart
Teutonic Terror
Pandemic
Balls to the Wall

Band members
Mark Tornillo – lead vocals*
Wolf Hoffmann – guitar
Uwe Lulis – guitar
Philip Shouse – guitar
Martin Motnik – bass
Christopher Williams – drums

*Vocalist Mark Tornillo was absent due to illness. Bassist Martin Motnik and drummer Christopher Williams shared lead vocal duties.

Concert Review – Iron Maiden (Canadian Tire Centre, Kanata, ON, 10/15/2022)

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One of the wildest crowds ever turned the charming Ottawa into a cauldron of pure Iron Maiden madness on an unforgettable Saturday night.

INTRO: Third time (at the FTTB) is a charm… or maybe not!

There I was yesterday in Ottawa for another night of pure Iron Maiden madness, but let’s say my third and last experience with the First to the Barrier offered by the Iron Maiden Fan Club was a mix of joy and disappointment due to the total lack of organization and the freakin’ cold winds blowing the whole time we were waiting in line for the slowest security on earth to give us our wristbands, check our names and so on. We got in only at around 5:59pm, less than a minute before the doors opened for the fans who had regular floor tickets, and as most of those fans simply rushed to the barrier, several (if not most) of the FTTB winners were only able to get to the third, fourth, fifth row, or even further back. Well, it is what it is, and at least I was able to be in the flag picture at the end of the concert and have a really cool meetup with other IMFC members the night before. If only the IMFC management allowed us members to organize the FTTB like we organize our meetups, things would have been a lot different on Saturday.

OPENING ACT: Within Temptation

The FTTB fiasco wasn’t a huge problem in the end as we got really good spots for the last Canadian date of the Legacy of the Beast World Tour 2022 at the Canadian Tire Centre, which despite being sold as Ottawa it’s in fact located in Kanata, around 25km from Ottawa’s city centre. It’s a nice venue, but in the middle of nowhere, and if you don’t want to pay the high prices for food and beverages inside it I would say the best “restaurant” in the area is a convenience store located at the only gas station nearby. Anyway, at exactly 7:30pm the Dutch metallers from WITHIN TEMPTATION hit the stage with their solid fusion of Symphonic Metal and Alternative Rock, this time replacing the song Faster with a much better one called Entertain You, and they did entertain the crowd a lot, giving everyone a very good taste of the hurricane that was about to happen with Iron Maiden. Sharon was so thrilled with the warm reception the band got from the rowdy Canadian audience she sometimes got lost in her words, which was cute to witness. Great job, Sharon and boys! See you in Newark!

Setlist
The Reckoning
Paradise (What About Us?)
In the Middle of the Night
Stand My Ground
Entertain You
Supernova
Don’t Pray for Me
Raise Your Banner
Mother Earth

Band members
Sharon den Adel – vocals
Robert Westerholt – guitars
Ruud Jolie – guitars
Stefan Helleblad – guitars
Jeroen van Veen – bass
Martijn Spierenburg – keyboards
Mike Coolen – drums

IRON MAIDEN

Just like a Heavy Metal ritual, precisely at 8:50pm the lights went down, the speakers played the beyond classic intro Doctor Doctor, and there they were, the unparalleled, undisputed metal giants IRON MAIDEN for another insane concert for the delight of all fans at a sold out Canadian Tire Centre, and from the very first notes of Senjutsu it was clear that wasn’t going to be a slow and relaxed night. If you think about it, not only it was a Saturday night, the best day for anyone to see a concert, but Ottawa is geographically perfect for fans from Toronto, Montreal, Quebec City, all surrounding towns and cities, other Canadian provinces, and several US cities, not to mention all fans travelling from other parts of the world such as Germany and England, and all fans were on absolute fire from start to finish, firing up the band with each scream, fist raised and mosh pit. And yes, there were several mosh pits. At an Iron Maiden concert. It was that chaotic.

I personally thought Bruce was a bit rushed in the first part of the gig, being disconnected from his bandmates in songs like Stratego and The Writing on the Wall, but nothing that could make the concert less enjoyable, of course. The concert was relatively calm until they played the classic Revelations, and that’s when the first mosh pits started if you could believe that, growing in intensity and reaching some insane levels of speed and violence in songs like Fear of the Dark and Iron Maiden. I was just waiting for a Scooby-Doo plot twist when Bruce would take off his mask and review himself as Tom Araya, saying Slayer was back in action and playing “Angel of Death” right after Aces High was over, but again, it was “just” Iron Maiden on stage, proving even a band that’s not as heavy like Iron Maiden can make our blood boil to the point we must slam into the pit so awesome they are. It was indeed a unique experience, and apart from Rock in Rio III in 2001 (for obvious reasons, as we’re talking about 150,000 people back then), Saturday night’s concert in Ottawa was the band’s most intense one I’ve ever been to.

The man of the night for me was undoubtedly Dave Murray. Although he doesn’t move as much around the stage as Bruce, Steve or Janick, he was absolutely fuckin’ flawless with his riffs and solos throughout the entire concert, as if all the energy emanating from such wild crowd was inspiring him to play better and better. That’s the beauty of seeing an iconic band like Iron Maiden different times during the same tour, as there are always those nuances that make each concert different from the others. Another example is that Bruce spoke a few sentences in French with the crowd. Some people might be wondering why he did that if we were in Ottawa, but as mentioned the city of Montreal and many other cities on the Quebec side are so close to Ottawa I would say maybe half of the venue was comprised of French-speaking fans, and Bruce acknowledging that shows how much they (still) care about their loyal fanbase. So it’s “goodbye” or “au revoir”, Canada! And we’ll meet again in Newark on Friday!

Setlist
Transylvania
Doctor Doctor
Senjutsu
Stratego
The Writing on the Wall
Revelations
Blood Brothers
Sign of the Cross
Flight of Icarus
Fear of the Dark
Hallowed Be Thy Name
The Number of the Beast
Iron Maiden

Encore:
The Trooper
The Clansman
Run to the Hills

Encore 2:
Churchill’s Speech
Aces High
Always Look on the Bright Side of Life

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

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Concert Review – Iron Maiden (FirstOntario Centre, Hamilton, ON, 10/12/2022)

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A “Hamilton virgin”? No problem, Bruce. We know how to take good care of you.

INTRO: First to the Barrier, here we go again… or maybe not!

Due to work-related duties, I was unable to join my fellow brothers and sisters from the Iron Maiden Fan Club for the First to the Barrier yesterday at the FirstOntario Centre in Hamilton, but that doesn’t mean I didn’t have a very good time enjoying my second night in a row of pure awesomeness with the Legacy of the Beast World Tour 2022. As a matter of fact, the venue was so small and cozy that even if you arrived five minutes before Iron Maiden started their concert, you would still be able to grab a very good spot and witness everything happening on stage, and I still had time to be on the flag photo of the night with my fellow members of the IMFC, meeting a few new faces, and so on. This Saturday I’ll be in Ottawa and will certainly do the FTTB, but for now let’s focus on another amazing night of metal music in Hamilton.

OPENING ACT: Within Temptation

I was so late to the concert last night that I missed pretty much the entire concert by WITHIN TEMPTATION, plus the fact that I spent the first 20 minutes at the venue checking the merch and grabbing a beer. However, everything I said about the band’s performance from the Toronto show is also valid for Hamilton, with Sharon den Adel leading her henchmen throughout their solid setlist and, therefore, properly warming up the fans at the venue for another flawless performance by the one and only Iron Maiden. I saw a few people complaining about Within Temptation, saying they’re boring and shouldn’t be opening for Iron Maiden during this part of the Legacy of the Beast World Tour, but that’s most probably because Symphonic Metal is not as appreciated in the US and Canada as it is in Europe, for example, and when the type of music being played is not your cup of tea not even the best band in the genre can entertain you, don’t you agree? Anyway, there are still two more dates for me to see Within Temptation on stage this tour, so I’ll try to make the most out of it and support those Dutch metallers as much as I can.

Setlist
The Reckoning
Paradise (What About Us?)
Faster
In the Middle of the Night
Stand My Ground
Supernova
Don’t Pray for Me
Raise Your Banner
Mother Earth

Band members
Sharon den Adel – vocals
Robert Westerholt – guitars
Ruud Jolie – guitars
Stefan Helleblad – guitars
Jeroen van Veen – bass
Martijn Spierenburg – keyboards
Mike Coolen – drums

IRON MAIDEN

By now you might know already that if there’s one thing that IRON MAIDEN love to do, that is starting their concerts precisely at 8:50pm, and it couldn’t have been any different in Hamilton, of course. As I was a little further back than the barrier I was able to see the full stage last night, paying attention to each detail (while obviously screaming all songs together with the band), and what really caught my attention this time is the “massive” break between the three songs from Senjutsu and the Legacy of the Beast ones. Also, not sure if anyone has noticed it yet, apart from those two very distinct acts we can also notice in the Legacy of the Beast one how the band begins in a slower, darker and more melodic mode and starts speeding up with each upcoming song, culminating with the breathtaking Aces High. Those guys always think of every detail, providing their fans with a unique experience even when the setlist is absolutely the same during an entire tour.

Bruce was having a lot of fun playing with the band in Hamilton for the first time ever, calling himself a “Hamilton virgin” while also explaining he has already been in the city for his “An Evening with Bruce Dickinson” spoken tour, and complementing by saying the rest of the band had already played in Hamilton but in 1998 (with Blaze Bayley on vocals during the Virtual XI tour). Also, during Blood Brothers as usual Bruce began pointing out different flags from all over the world, focusing on two fans from Puerto Rico and Bangladesh which were let’s say a surprise to him, as in his opinion those places are too far from Canada. Well, maybe he hasn’t realized yet that Canada, in special the province of Ontario, is beyond multicultural, with people from pretty much every country in the world living here. I’m pretty sure those two guys didn’t travel all the way from Bangladesh and Puerto Rico to the show, but letting Bruce think about that was all the fun, right?

Musically speaking, the band was tight and electrifying as usual, with Adrian and Dave kicking some serious ass with their beautiful solos while Steve was in his natural beast mode running around the stage and jumping up and down nonstop. Depending on the night, and of course on the fans, some songs get more incendiary than others, and last night that was the case with Sign of the Cross, Hallowed Be Thy Name, The Trooper, The Clansman and Run to the Hills, proving that although their concerts on the same tour might look the exact same things, they’re never the same. Add to that the fact the venue was smaller than the Scotiabank Arena (and it was fun seeing Bruce checking if the fans at the highest seated sections were alive by asking them to move their arms and scream), and there we had a very intimate and flammable night with Eddie and the boys. Moreover, I still had some time after all was said and done to chat with a couple of buddies from the IMFC, who will obviously be in Ottawa this Saturday. Or do you think that one or two Iron Maiden concerts in one tour is enough?

Setlist
Transylvania
Doctor Doctor
Senjutsu
Stratego
The Writing on the Wall
Revelations
Blood Brothers
Sign of the Cross
Flight of Icarus
Fear of the Dark
Hallowed Be Thy Name
The Number of the Beast
Iron Maiden

Encore:
The Trooper
The Clansman
Run to the Hills

Encore 2:
Churchill’s Speech
Aces High
Always Look on the Bright Side of Life

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

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