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Concert Review – The Bay Strikes Back Tour (London Music Hall, London, ON, 10/01/2022)

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And the Bay struck back in the city of London, Ontario for the delight of all Thrash Metal lovers slamming into the pit on a completely sold-out night.

INTRO: The Bay Strikes Back Tour 2022

Featuring Bay Area Thrash Metal icons DEATH ANGEL, EXODUS and TESTAMENT, the fantastic party labeled The Bay Strikes Back Tour 2022 actually started back in Europe in February 2020, but only lasted for two months due to all COVID-19 restrictions at that time. However, in 2022 the three bands got back in action with the first leg of a North American tour in April and May, another European leg in the summer, and now a second North American leg this fall, including the sold out, majestic thrashing night on October 1 at the London Music Hall in London, Ontario, here in Canada. The place was jam packed from the very first second the doors opened at 6pm, and that was the landscape until Testament closed the night already past 11pm, requiring a lot of stamina, headbanging and moshing from the fans lucky enough to get a ticket for such unique night of pure Thrash Metal.

DEATH ANGEL

Precisely at 6:50pm, and with the merch lines still being huge (which caused several fans to miss part of the concert), San Francisco, California’s own Thrash Metal squad DEATH ANGEL kicked off the night on a high note, blending old school tunes the likes of Mistress of Pain and Voracious Souls with newest hits such as The Moth and Humanicide, from their latest effort Humanicide, released in 2019. Mark Osegueda was on fire throughout the entire concert, showcasing an amazing vocal performance while his bandmates made sure there was plenty of heaviness and speed for the fans at the London Music Hall to get into the circle pits. It was really cool to see bassist Damien Sisson sporting a Toronto Raptors jersey, and of course seeing how much Canadians love Death Angel. Right after they finished playing the closing tune, the excellent Thrown to the Wolves, it became obvious that their setlist was way too short, but I’m sure the band will be back for a full-bodied, ass-kicking performance sooner than we can say “Thrash Metal”.

Setlist
The Ultra-Violence / Mistress of Pain
Voracious Souls
Seemingly Endless Time
The Dream Calls for Blood
Caster of Shame
The Moth
Humanicide
Thrown to the Wolves

Band members
Mark Osegueda – vocals
Rob Cavestany – guitar
Ted Aguilar – guitar
Damien Sisson – bass
Will Carroll – drums

EXODUS

After a quick bathroom/beer/merch break, all fans at the venue got in their desired positions for the fulminating Thrash Metal attack by the one and only EXODUS, and it was indeed a killer lesson in violence. Steve “Zetro” Souza, Gary Holt, Lee Altus, Jack Gibson and Tom Hunting felt at home in London, crushing everything and everyone that crossed their path during their high-octane, heavy-as-hell performance, and consequently putting a huge smile on the faces of everyone at the venue. Promoting their sensational 2021 opus Persona Non Grata, the band delivered endless adrenaline in a setlist that beautifully mixed new songs like The Beatings Will Continue (Until Morale Improves) and The Years of Death and Dying with old school thrashing classics including A Lesson in Violence, Blacklist and Bonded by Blood. Zetro and Gary were insane on stage the whole time, while their fans were simply slamming into the pit like there’s no tomorrow. Close to the end of the show, before they played the electrifying The Toxic Waltz, Zetro thanked everyone at the venue for an amazing sold-out night and thanked security for the excellent job done in keeping everyone safe during the concerts, while a Canadian flag with the Exodus logo was shining bright behind the drums, and Gary made a tear of pure joy fall from everyone’s faces when he played a snippet from Slayer’s undisputed classic “Raining Blood”. We need Slayer back. Anyway, as usual they ended the concert with Strike of the Beast, or maybe I should say STRIKE OF THE FUCKIN’ BEAST, with a promise Exodus will soon return to Canadian lands for another lesson in violence.

Setlist
The Beatings Will Continue (Until Morale Improves)
A Lesson in Violence
Blood In, Blood Out
The Years of Death and Dying
Deathamphetamine
Blacklist
Piranha
Prescribing Horror
Bonded by Blood
The Toxic Waltz
Strike of the Beast

Band members
Steve “Zetro” Souza – vocals
Gary Holt – lead and rhythm guitars
Lee Altus – lead and rhythm guitars
Jack Gibson – bass
Tom Hunting – drums, percussion

TESTAMENT

It took a little longer for Oakland, California-based Thrash Metal titans TESTAMENT to hit the stage at the London Music Hall, more specifically at 9:30pm, but I must say the wait was totally worth it as Chuck Billy and his crew masterfully blasted our hearts and souls with their very technical, infernal and thrilling Thrash Metal. It didn’t matter if they played newer songs like Rise Up, The Pale King and WWIII, or thrashing classics the likes of Practice What You Preach and First Strike Is Deadly, the crowd went mental into the circle pit, inspiring the whole band to play even faster and heavier than usual. The new songs from their 2020 album Titans Of Creation sounded fantastic live, but it was the old school stuff that set endless fire to the pit. I have to say that D.N.R. (Do Not Resuscitate), Electric Crown and The Formation of Damnation might be three of the finest Thrash Metal anthems of all time, and if you add to that the sensational way Eric Peterson and Alex Skolnick slashed their axes, the rumbling bass by Steve Di Giorgio, and of course the unparalleled drums by Mr. Dave Lombardo, who received perhaps the most heartwarming ovation from the crowd from all bands, there you have the cream of thrash served on a plate of pure gold to their Canadian fans. Chuck Billy was having an amazing time, being extremely happy with the reaction of the crowd before Native Blood when he mentioned the importance of the day before the show, September 30, to all indigenous people due to the National Truth and Reconciliation Day in Canada, and pretending he was “brewing” pure Thrash Metal in the giant “casserole” known as the floor section while fans were in a devastating mode during Into the Pit, among a few nice stories he told in between songs. Everyone left the London Music Hall extremely satisfied with the whole night, in special with the ass-kicking performance by Testament, and it won’t take long for them to return to Canada to blast our ears once again as long as we always practice what we preach.

Setlist
Rise Up
The New Order
The Pale King
Children of the Next Level
Practice What You Preach
WWIII
D.N.R. (Do Not Resuscitate)
Native Blood
Night of the Witch
Electric Crown
The Formation of Damnation
First Strike Is Deadly
Into the Pit
Alone in the Dark

Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Dave Lombardo – drums

Album Review – Death Angel / Humanicide (2019)

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A solid and entertaining album of old school Thrash Metal that marks the band’s return to the wolves alongside a survivalist pack mentality.

Since their return from a long hiatus in 2001, American Thrash Metal wolfpack Death Angel has been on a constant and solid roll, releasing a series of albums that, although might not be considered masterpieces, are extremely high-quality albums of good old, classic thrash. If their 2016 installment The Evil Divide is in my humble opinion their strongest album of this new phase of the band and one of their all-time best ones in terms of creativity, speed and rage, we can say their brand new opus Humanicide, the ninth studio album in their career, continues to pave their thrashing path and keeps the band more than just relevant in the current metal scene, therefore keeping the flames of old school Thrash Metal burning brighter than a thousand suns.

Recorded and mixed at Audio Hammer Studios in Sanford, Florida, with additional recording at Spiderville Studios in Oakland, California and mastered at Sterling Sound in Nashville, Tennessee, Humanicide is the band’s fourth album in a row to be produced by Jason Suecof (Charred Walls of the Damned, Crotchduster, Capharnaum) and also to have the same lineup comprised of vocalist Mark Osegueda, guitarists Rob Cavestany and Ted Aguilar, bassist Damien Sisson and drummer Will Carroll. In addition to that, Humanicide also marks Death Angel’s return to the wolves alongside a survivalist pack mentality, which is also reflected in the album artwork designed by renowned American artist Brent Elliott White (Megadeth, Trivium, 4ARM, Thy Art Is Murder, Amon Amarth), who already worked with Death Angel in their 2010 album Relentless Retribution and in their 2013 album The Dream Calls for Blood. Having said that, are you ready to join this unrelenting wolfpack in their quest for Thrash Metal?

An epic intro ignites the bold title-track Humanicide, with the strident guitars by both Rob and Ted morphing into a shredding feast while Mark’s vocals sound piercing and acid just the way we like it, thrashing our souls mercilessly for almost six minutes before we’re treated to Divine Defector, devastating form start to finish thanks to the pounding beats by Will, and albeit not a brilliant song it’s still classic Thrash Metal and a good option for slamming into the pit. And more melodic but utterly aggressive, Death Angel put the pedal to the metal in another feast of classic guitar lines, nonstop drums and raspy vociferations in Aggressor, with Rob and Ted doing a very good job with both their acoustic lines and electrified riffs.

I Came for Blood, my favorite of all songs, is a fast and infuriated explosion of old school thrash where its guitars couldn’t sound more thrilling, while Damien and Will bring sheer thunder with their respective instruments, not to mention the song’s aggressive, take-no-prisoners-like lyrics (“The bloody nose of victory / Fueled by seeds of hate / Make peace with my enemies? / No chance, not today / I’ve traveled through the unknown / That is where I thrive / You chose to say my name aloud / So I shall never die”). Featuring the smooth piano by Ukrainian guest musician Vika Yermolyeva, Immortal Behated is a pensive and beautiful metal tune, very detailed and full of layers and nuances, and also presenting crisp guitar solos, intricate drumming and endless darkness to heighten our senses, whereas in Alive and Screaming they get back to their trademark berserk mode, with Mark being on fire on vocals supported by his bandmates’ potent backing vocals, showcasing once again a demolishing job done by Will on drums. And The Pack, as Mark himself says, is a call to arms, sounding as if the band wants to gather all thrashing wolves to fight side by side with them, with Rob and Ted stealing the spotlight with their flammable riffage.

Children Of Bodom’s own Alexi Laiho delivers a vibrant guitar solo in Ghost of Me, another fast-paced, high-octane tune with Mark firing his trademark screams, bringing to our ears riffs and solos played at the speed of light, therefore inspiring us all to slam into the pit like maniacs. Next, it’s time for Jason Suecof to fire a guitar solo in Revelation Song, focusing on the melody rather than the speed and offering another blast of dark poetry by the band (“Watch for their people dawning / Watch for their evil task / A negative space revival / A negative faceless mask, hey / A child to be so wicked / Coming to steal your mind / Lost in a destructive space / Lost in a revolting time”), with Damien’s bass sounding truly ominous in the background. Of Rats and Men is a generic version of their own music, which despite Mark’s efforts to make it more engaging the music never really takes off, while The Day I Walked Away, some sort of a “bonus track” included in all versions of the album (and that’s why I don’t understand why it’s called a bonus track), is one more not-so-exciting song by the band with a bland sound and vibe, but still presenting some good moments such as the guitar solos blasted by Rob and Ted.

In summary, as already mentioned Humanicide (available for a full listen on YouTube and on Spotify, and on sale from several locations as you can see HERE) is far from being a masterpiece, but it’s still an above average album of old school thrash that definitely deserves a shot. To be honest with you, I would love to see Death Angel go back to the more diverse and crisp musicality found in The Evil Divide, but of course I wouldn’t complain at all if they decide to keep following the same formula and deliver to us another ten albums on the same vein as Humanicide in the coming years. And for a great band like Death Angel, who have always crafted first-class Thrash Metal since their beginnings, that’s more than enough to keep us happy.

Best moments of the album: Humanicide, I Came for Blood, Immortal Behated and The Pack.

Worst moments of the album: Of Rats and Men and The Day I Walked Away.

Released in 2019 Nuclear Blast

Track listing
1. Humanicide 5:42
2. Divine Defector 3:24
3. Aggressor 5:11
4. I Came for Blood 3:12
5. Immortal Behated 6:08
6. Alive and Screaming 3:36
7. The Pack 3:33
8. Ghost of Me 4:34
9. Revelation Song 5:33
10. Of Rats and Men 4:08
11. The Day I Walked Away 3:29

Band members
Mark Osegueda – vocals
Rob Cavestany – guitar
Ted Aguilar – guitar
Damien Sisson – bass
Will Carroll – drums

Guest musicians
Alexi Laiho – lead guitars on “Ghost of Me”
Jason Suecof – lead guitars on “Revelation Song”
Vika Yermolyeva – piano on “Immortal Behated”

Album Review – Infernäl Mäjesty / No God (2017)

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A powerful album of Canadian Thrash and Death Metal that confirms there’s no god in our decaying world, but only an infernal majesty of extreme music reigning supreme among us.

Formed in the distant year of 1986 in the city of Toronto, Canada, but currently located on the opposite side of the country, in the beautiful city of Vancouver, Thrash/Death Metal squad Infernäl Mäjesty has been unleashing complex and exciting metal tunes upon humanity since their inception, starting with their 24-track demo recorded at the renowned Metalworks Studios in Toronto (owned by members of Canadian Hard Rock band Triumph) and their 1987 debut album None Shall Defy, and culminating with the release of their brand new opus now in 2017 titled No God.

Featuring an elegant cover art by Safir & Rifas (based on their 2014 oil on canvas art named “Death Angel”), No God offers the listener 11 imposing thrash tunes for the delight of fans of the heaviness and aggressiveness of giants such as Slayer, Behemoth and Testament, masterfully played by founding members Chris Bailey (vocals), Steve Terror (guitar) and Kenny Hallman (guitar), together with newcomers Daniel Nargang on bass and Kiel T. Wilson on drums. “We put a lot into it physically and mentally and feel it has a classic Infernäl Mäjesty undertone while artfully expanding into episodes of melodic cacophony. Recorded at our studio in Vancouver, Canada and produced by Steve Terror, Chris Bailey and Ken Hallman, we enrolled the masterful mixing skills of Chris ”Hollywood” Holmes and believe this to be our best works since None Shall Defy”, says the band about their brand new spawn.

Chris and his horde begin their ominous attack from the very first second of the belligerent tune Enter The World Of The Undead, where we’re furiously invited to enter their world of Thrash and Death Metal to the sound of the cutting riffs by Steve and Kenny, while Kiel keeps up with the legacy of iconic drummers such as Dave Lombardo, Gene Hoglan and Tom Hunting. Dark and acrid words flow from Chris’ visceral growls in the rhythmic onslaught of extreme music called In God You Trust, also presenting a hellish aura in the background which ends up enhancing the song’s obscurity; followed by a very aggressive and infernal composition named Signs Of Evil, displaying a similar pattern than both previous songs, with highlights to the unstoppable Kiel behind his drums and to the once again sharp guitar riffs and solos by Steve and Kenny. And in Another Day in Hell the music feels like it’s rising from the pits of the underworld, with the initial roar by Chris being a sign of how heavy this tune will be. Not only it brings an old school sonority the likes of Unleashed, but its calmer but blackened breaks make the whole composition even more menacing.

Kingdom Of Heaven, a mid-tempo straightforward Death Metal chant with thrashing elements added to it, presents a neck-breaking start with lots of groove emanating from Kiel’s drumming, while Steve, Kenny and Daniel slash our skin with their razor-edged strings, whereas the title-track No God is a blasphemous feast of Death and Thrash Metal perfect for their live performances, with Chris vociferating the song’s wicked lyrics manically (“Born of fire from the starless depths of hell / The red cross turns black so many dead sent up the stacks / Spill the blood of virtue for the empire of gold / Satan laughing defecating into open mouths below”), therefore being one of the strongest compositions of the whole album. Then we have an eerie instrumental track about the 9/11 attacks titled False Flag for Europe, paving the path for the rhythmic Nation of Assassins, starting in a darker and heavier pace before exploding into a thrilling hurricane of metal, with Chris darkly screaming the song’s name while the rest of the band blasts a very cohesive fusion of Thrash and Death Metal.

The killer drumming by Kiel and the straightforward guitars by both Steve and Kenny are all Chris needs to fire his infuriated growls in the fantastic House Of War, with the aggressiveness of the entire song being way above average. All band members are absolutely on fire, delivering an intricate but always crude and primeval hymn for admirers of traditional Death Metal that has all it takes to become an underground classic. Systematical Extermination keeps the quality of the album at a very good level, albeit being less creative than the others (it might have been more effective if it was a little shorter, though), while in Extinction Level Event a truly macabre intro morphs into a pounding sonic devastation. Steve and Kenny continue with their merciless slashing, also blasting melodious lines to give more balance to all the havoc going on, with Kiel helping Chris to poetically scream about the end of mankind until the song’s somber ending.

Infernäl Mäjesty is another one of those amazing bands that makes us proud of being Canadian, and if I were you I would certainly like their Facebook page, listen to more of their demonic Thrash Metal at their YouTube channel and at their BandCamp page (where No God will be available soon), and grab your copy of No God at the High Roller Records’ webstore in different formats (CD digipak, LP black, LP splatter and LP royal blue), at the Napalm Records’ webstore, at the Season of Mist’s webstore, at Target, at Record Shop X, on Amazon and several other locations (please note that “False Flag for Europe” and “House Of War” are on the CD and digital download, but not on the vinyl edition because they are already on a custom House Of War 7”). After listening to this raging lecture of Extreme Metal, I’m more than inclined to believe there’s no god, but only an infernal majesty of metal music reigning supreme among us.

Best moments of the album: Enter The World Of The Undead, No God and House Of War.

Worst moments of the album: Systematical Extermination.

Released in 2017 High Roller Records

Track listing
1. Enter The World Of The Undead 5:44
2. In God You Trust 5:14
3. Signs Of Evil 4:53
4. Another Day in Hell 6:37
5. Kingdom Of Heaven 6:46
6. No God 5:58
7. False Flag for Europe 2:05
8. Nation of Assassins 6:24
9. House Of War 4:47
10. Systematical Extermination 6:28
11. Extinction Level Event 6:08

Band members
Chris Bailey – vocals
Steve Terror – guitar
Kenny Hallman – guitar
Daniel Nargang – bass
Kiel T. Wilson – drums

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2016

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“I don’t know where I’m going from here, but I promise it won’t be boring.” – David Bowie

The unexpected death of the most badass musician in history, Motörhead’s heart and soul Lemmy Kilmister, on December 28, 2015 was a harbinger of all the bad, shocking and revolting things that would turn the year of 2016 a true nightmare for mankind. That dark prophecy was confirmed less than two weeks later, more specifically on January 10 when we lost another true star in rock music to cancer, the unparalleled chameleon David Bowie, just two days after the release of his final masterpiece Blackstar. If that was not enough to make 2016 a miserable year, we also had to endure the passing of other icons who, despite not being metal, have always inspired countless bands and artists in heavy music. We lost Prince, Leonard Cohen and Keith Emerson (Emerson, Lake & Palmer), to name a few, all irreplaceable losses to music in general. In addition, important names in the history of Heavy Metal also left us in 2016, such as Nick Menza (Megadeth) and Jimmy Bain (Rainbow, Dio), not to mention the disbandment of amazing groups like Eths (who are by the way part of our top 10 this year), Crucified Barbara and Bolt Thrower. And I’m not even going to talk about all other types of disasters and tragedies that happened all over the world, as the list is too macabre and grievous to be remembered in full.

Fortunately, 2016 was considerably generous for us headbangers in terms of the quantity and quality of albums released throughout the entire year, especially for diehard fans of old school Thrash Metal. Except for Slayer and Exodus, all other prominent names in Thrash Metal blasted the world with their high-speed, thrilling music, led by another superb album by Testament. Even Metallica released a decent album this year, just to give you an idea of how fruitful 2016 was for this rebellious type of music. Having said that, it’s time for The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2016, excluding EP’s, best of’s and live albums. And even if 2017 is as hideous as 2016, let’s never forget the wise words by Bill S. Preston, Esquire and Ted “Theodore” Logan. Be excellent to each other, and party on, dudes!

testament_brotherhood-of-the-snake1. Testament – Brotherhood Of The Snake (REVIEW)
Join the Brotherhood of Thrash Metal spearheaded by one of the heaviest, most technical and most electrifying bands on the entire planet.
Best song of the album: The Number Game

cover2. Charred Walls Of The Damned – Creatures Watching Over the Dead (REVIEW)
A magnificent lecture in Heavy Metal by four electrified beasts.
Best song of the album: As I Catch My Breath

Cover3. Eths – Ankaa (REVIEW)
One of the most prominent and innovative French bands of all time returns with a true masterpiece of complexity, darkness and heaviness.
Best song of the album: Nefas

cover4. Primal Fear – Rulebreaker (REVIEW)
Who said rules must be broken for a metallic eagle to spread its wings and soar high in the skies of heavy music?
Best song of the album: Rulebreaker

megadeth_dystopia5. Megadeth – Dystopia (REVIEW)
And the dystopian world portrayed in the brand new album by the iconic Dave Mustaine and his Thrash Metal army is beyond awesome.
Best song of the album: Lying In State

abbathsoloface_6386. Abbath – Abbath (REVIEW)
The one and only Abbath takes a new step in his career with a brand new band an album.
Best song of the album: Fenrir Hunts

death angel_the evil divide7. Death Angel – The Evil Divide (REVIEW)
Fast and furious anthems, dark mid-tempo songs, austere lyrics and endless stamina. This is how Thrash Metal should always be done.
Best song of the album: Hell To Pay

anthrax_for all kings8. Anthrax – For All Kings (REVIEW)
A classy and electrifying Thrash Metal album especially crafted for all of us, the real kings of heavy music.
Best song of the album: Breathing Lightning

front9. Axel Rudi Pell – Game of Sins (REVIEW)
You might be a sinner, but don’t be a fool and go relish another magnificent album by Mr. Axel Rudi Pell and his loyal henchmen.
Best song of the album: Falling Star

nervosa-agony-201610. Nervosa – Agony (REVIEW)
Brazil’s meanest power trio returns with another marvelous blast of their kick-ass high-octane Thrash Metal.
Best song of the album: Theory of Conspiracy

And here we have the runner-ups, completing the top 20 for the year:

11. Blaze Bayley – Infinite Entanglement (REVIEW)
12. The Silent Rage – The Deadliest Scourge (REVIEW)
13. Neverworld – Dremasnatcher (REVIEW)
14. Ancesttral – Web Of Lies (REVIEW)
15. Front – Iron Overkill (REVIEW)
16. Dö – Tuho (REVIEW)
17. Be Under Arms – Doomed To Life (REVIEW)
18. SystemHouse33 – Regression (REVIEW)
19. Gojira – Magma (REVIEW)
20. False Coda – Secrets and Sins (REVIEW)

As in Heavy Metal the artwork is just as important as the music itself, like what always happens with bands such as Iron Maiden, Megadeth, Metallica, KISS and tons of other metallic titans, we decided to list the Top 10 Cover Artworks of 2016. There are several reasons for an album art to be considered outstanding, such as its strong connection with the music like Iron Maiden’s Powerslave, its visual impact (usually associated with its controversial content) like Slayer’s God Hates Us All, or its perfect minimalism and finesse like Pink Floyd’s Dark Side Of The Moon. Do you agree with our list?

1. Anthrax – For All Kings [by Alex Ross]
2. Primeval Mass – To Empyrean Thrones [by Karmazid]
3. Witches Of Doom – Deadlights [by Carlo Muselli]
4. Ragehammer – The Hammer Doctrine [by Robert A. von Ritter]
5. Howls Of Ebb – Cursus Impasse: The Pendlomic Vows [by Agostino Arrivabene]
6. Testament – Brotherhood Of The Snake [by Eliran Kantor]
7. Henriette B – Tales of Reality (EP) [by Pierre-Alain D.]
8. Skáphe – Skáphe² [by H.V. Lyngdal]
9. Diabolizer – Apokalypse (MCD) [by Robert A. von Ritter]
10. Hostis – Hostis [by Zvonimir Grabić & Milena Nićić]

Rest assured in 2017 we at The Headbanging Moose will keep providing you the best of the underworld of Death, Thrash, Black, Symphonic, Epic, Power Metal and all other genres and subgenres of heavy music, as well as our view of the biggest names worldwide. There are already brand new albums confirmed for 2017 by Kreator, Sepultura, Grave Digger, Battle Beast and more, which means at least musically the new year promises to be really good. Thank you very much for your precious time, and keep on rockin’! Au revoir!

Metal Xmas and a Headbanging New Year! See you in 2017!

Well, before we go, here’s a special gift from Iron Maiden to all metalheads all over the world… A nice festive yule log fireplace to keep our hearts warm during the entire season!

Concert Review – Slayer (Sound Academy, Toronto, ON, 09/12/2016)

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When you have the iconic Death Angel, Anthrax and Slayer playing together in Toronto, you know it’s going to be an action-packed night of demented headbanging, beer drinking and brutal slamming.

OPENING ACTS: Death Angel and Anthrax

img_1784Anytime a concert is scheduled for a weekday that’s not Friday and there are a few bands on the lineup, I believe the organizers should push the whole event one hour later than planned to give more time to several fans that do not live right beside the venue to get there before the first band starts. And when the opening act is a band like Thrash Metal masters DEATH ANGEL, that extra time should be mandatory. The doors at a completely revamped Sound Academy (which will soon change its traditional name to Rebel, the most generic thing you can think of) opened at 6:30pm yesterday, and right after that Death Angel began their concert. Was I there to witness the amazing band led by Mark Osegueda fire their classics and new songs from the superb The Evil Divide? Of course not, nor hundreds of other fans who due to work or school could not get to the venue before 7:30pm. Is it too difficult to take into account the fact that most people do not live only five minutes from the venue, especially on a Monday night? We paid good money for the tickets, we deserved to see Death Angel, but it looks like some people just don’t care if you’re attending the full concert or not, right?

Setlist
The Ultra-Violence
Evil Priest
Claws in So Deep
Thrown to the Wolves
The Dream Calls for Blood
The Moth

Band members
Mark Osegueda – vocals
Rob Cavestany – guitar
Ted Aguilar – guitar
Damien Sisson – bass
Will Carroll – drums

img_1787And if you arrived after 7:30pm you might even have missed the beginning of the excellent concert by Thrash Metal titans ANTHRAX, simply proving how early the whole event started. Despite playing only nine songs in total, our good friends Joey Belladonna, Jon Donais, Scott Ian, Frank Bello and Charlie Benante kicked fuckin’ ass, with half of their setlist being comprised of songs from their latest album, the classy For All Kings. And let me tell you that those new songs worked really well live, especially Evil Twin and Breathing Lightning. Obviously, all fans got really pumped up when they played some of their biggest classics such as Caught in a Mosh, Antisocial and Indians (including a war dance), with Joey and Scott (“Do you love Thrash Metal?”) igniting some flammable mosh pits with their endless energy and unique charisma. I hope they get back to Toronto soon, and next time they have to be the headliners and play their full set, because I lost count of how many times I’ve seen Anthrax as the opening act only in the past few years, always having to cut down their setlist due to time restraints.

Setlist
You Gotta Believe
Monster at the End
Caught in a Mosh
Got the Time
Fight ‘Em ‘Til You Can’t
Evil Twin
Antisocial
Breathing Lightning
Indians

Band members
Joey Belladonna – lead vocals
Jon Donais – lead guitar
Scott Ian – rhythm guitar, backing vocals
Frank Bello – bass guitar, backing vocals
Charlie Benante – drums 

SLAYER

img_1796One very positive thing I have to say about the revamp at the Sound Academy is that they fixed all past issues they had with their sound system, turning what once was a muffled and tangled noise into detailed and crystal clear sounds. That, my friends, was what made the cataclysmic performance by Thrash Metal behemoths SLAYER, the most badass and heaviest band on earth, even heavier than what we were used to, in special the demolishing drums by Mr. Paul Bostaph. He sounded bestial the entire concert, louder and heavier than a construction zone working at full force, making our chests pump hard with his beats as if he was using a stone crusher instead of regular drum sticks behind his drums. Simply amazing.

Obviously, the rest of the band also had a fantastic performance, with Tom Araya leading the band with his deranged screams while Gary Holt and Kerry King showed us how a guitar duo should really sound in heavy music. After the devilish intro Delusions of Saviour ended and their new bone-crushing hymn Repentless started, it was a feast of old school classics the likes of Postmortem, Mandatory Suicide, War Ensemble and the demonic Seasons in the Abyss mixed with new material from Repentless (five new songs to be more precise, including the awesome You Againt You and Vices), generating some sick mosh pits and rabid screams from all fans at the Sound Academy.

img_1808A few songs from their setlist hit me like a stampede so heavy, dark and amazing they were played. First of all, it’s always a pleasure to see Tom reciting the chorus for Dead Skin Mask before the song starts, inspiring every fan to sing along with him. As Tom said, we love Slayer’s music and they love to play it, so it’s like a love affair, right? And what to say about the brutal Disciple (I bet you were bursting your lungs out screaming “God hates us all!” together with Tom during the song, just like I did), the chaotic Born of Fire, and the really old school Fight Till Death, from their 1983 masterpiece Show No Mercy? This one crushed me like an insect so fantastic it was.

I have no words to describe the apocalyptic aura generated by the last batch of classics played by Slayer, starting with one of the most demonic songs of all time, Hell Awaits, followed by the also obscure South of Heaven, my favorite Slayer song of all Raining Blood (where Paul Bostaph gave a lesson in drumming from the very first beat until the end), the classic Black Magic and finally, paying homage to the legacy of Jeff Hanneman, the unparalleled Angel of Death. That was the last song of a pure Thrash Metal night on a perfect day in Toronto, leaving us all eager for more Death Angel, Anthrax and Slayer in a not-so-distant future. Add to all that the excellent Dystopia by Megadeth and the upcoming releases by Testament and even Metallica (at least their new song sounds good, let’s wait for the rest of the album), and you know 2016 is the year of Thrash Metal. And, of course, Toronto couldn’t be left out of such an awesome party.

Setlist
Delusions of Saviour
Repentless
The Antichrist
Disciple
Postmortem
Hate Worldwide
War Ensemble
When the Stillness Comes
You Against You
Mandatory Suicide
Fight Till Death
Born of Fire
Dead Skin Mask
Seasons in the Abyss
Pride in Prejudice
Vices

Encore:
Hell Awaits
South of Heaven
Raining Blood
Black Magic
Angel of Death

Band members
Tom Araya – vocals, bass guitar
Kerry King – guitar
Gary Holt – guitar
Paul Bostaph – drums

Album Review – Death Angel / The Evil Divide (2016)

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Fast and furious anthems, dark mid-tempo songs, austere lyrics and endless stamina. This is how high-quality Thrash Metal should always be done.

Rating3

death angel_the evil dividethrash
/THraSH/

verb
1. beat (a person or animal) repeatedly and violently with a stick or whip.
“she thrashed him across the head and shoulders” 

noun
1. a violent or noisy movement, typically involving hitting something repeatedly.
“the thrash of the waves”
2. a style of fast, loud, harsh-sounding rock music, combining elements of punk and heavy metal.

In case you didn’t know the meaning of the word “thrash”, this is the official definition of both the verb and the noun for you to memorize anytime someone asks you why Thrash Metal has such a peculiar name. However, if this is too much for you to remember during a conversation (or if you’re too drunk to make long and complex sentences), simply keep two words in mind, those being Death Angel, and it will be extremely easy for you to explain exactly what Thrash Metal is all about. Those thrash metallers from Daly City, the largest city in San Mateo County, California, in the United States, might have gone through several line-up changes and a huge hiatus during the 90’s, but after their resurrection in 2001 they have been delivering nothing but top-notch heavy music to the world.

After the release of the excellent The Dream Calls for Blood, in 2013, one of the key bands in the Bay Area Thrash movement of the 80’s returns at full force in 2016 with their eighth studio album, the also amazing The Evil Divide. Featuring a distinct artwork by American tattoo artist Bob Tyrrell, The Evil Divide is a feast of fast and furious Thrash Metal anthems, dark mid-tempo songs, austere lyrics and, of course, flawless performances by all band members, especially frontman Mark Osegueda who displays a wider-than-usual vocal range throughout the entire album, providing a special taste to each one of the ten songs masterfully played by the band, turning The Evil Divide into one of the best albums of the year and a must-have for lovers of old school Thrash Metal.

Get yourself ready for a high-octane onslaught, because the opening track, named The Moth, offers those piercing riffs and overpowering drums we truly love in this type of music, being melodic and polished but keeping the overall violence at a high level. Moreover, as already mentioned, Mark Osegueda is getting more demonic (and consequently more awesome) through the years, bringing more dynamism to Death Angel’s musicality. Right after that solid start, the sick bass lines by Damien Sisson kick off the circle pit-generator Cause for Alarm, where guest guitarist Jason Suecof (Charred Walls of the Damned) fires an amazing solo while drummer Will Carroll paves a path of devastation behind his drum kit. Honestly, there’s no way a real metalhead can stand still to this hurricane of Thrash Metal.

Then it’s time to slow things down a bit in Lost, a powerful heavy ballad by Death Angel with Mark stealing the spotlight with his passionate performance on vocals, while guitarists Rob Cavestany and Ted Aguilar make sure the band’s aggression keeps burning nonstop through their riffs and solos; followed by Father of Lies, a belligerent Thrash Metal tune that reminds me of the golden years of Bay Area Thrash. All you have to do is grab a beer, slam into the pit and enjoy this excellent song, paying good attention to the outstanding job done on guitars and singing along with the band its catchy and vicious chorus.

death angelIn Hell to Pay, not only its lyrics and chorus couldn’t be any thrashier (“Lurid speaker, you toxic feeder / There’s no damage on the way / Selfish user, trust abuser / There will be hell to pay”), but the overall performance of the entire band is superb. Mark leads this sonic havoc with his sharp screams, while the rest of the band keeps “feeding the beast” with all their strength. Holy fuckin’ shit, what an amazing Thrash Metal anthem! And Death Angel keep blasting their fantastic music in It Can’t Be This, another tune to sing along with the band with highlights to the amazing riffs by Rob and Ted, as well as the rumbling bass lines by Damien, which increase the song’s impact on the listener. And there’s still a lot more to come, as Hatred United/United Hate is yet another song born to be a Thrash Metal classic of modern times. Guest guitarist Andreas Kisser (Sepultura) provides an excellent guitar solo that sounds like some of his classic creations from the early days of Sepultura, whereas Mark effectively follows the lines crafted by guitars and drums with his enraged screams.

In Breakaway, an intro keeps growing until the music explodes into cataclysmic Thrash Metal, with pure electricity flowing through all instruments in one of the best tracks of the album. This is an ode to everything we admire in the music by Exodus, Testament, Slayer and so many other icons, bringing forward the speed, melody and heaviness of most classic Thrash Metal anthems.  The Electric Cell, with its old school lyrics (“A cold deathly grip on the shovel of greed / You dig a mass unmarked grave / Just know your bones will be the first to lie / At the bottom of the masses betrayed”), is a good exhibit of the endless stamina present in all band members, especially Will who doesn’t seem to know the meaning of the word “soft” while playing drums, before the cutting tune Let the Pieces Fall closes this superb album. It’s heavy and thrilling just like the rest of the album, with the vocal lines by Mark transpiring hatred. Thus, when it’s over you’ll go back to the beginning of the album and start listening to it all over again, and probably repeat that a few (or even a lot) more times until your body collapses due to unstoppable moshing and slamming.

In a nutshell, what Death Angel (or maybe I should call them “Thrash Angel”) offer us in The Evil Divide might not be a revolution in music, but it is exactly how high-quality Thrash Metal should always be done. And that seems to be an easy task for them due to the refined skills of each band member, a good sign of the bright future that lies ahead for the band and also for traditional Thrash Metal without a shadow of a doubt. No one knows if they’ll be able to top what they have achieved with The Dream Calls for Blood and The Evil Divide in recent years, and while we wait for their next release there’s plenty of awe-inspiring metal music from this iconic band in The Evil Divide to keep us banging our heads and raising our horns to the unparalleled and unrelenting sound of Thrash Metal for a good while.

Best moments of the album: Cause for Alarm, Hell to Pay, Hatred United/United Hate and Breakaway.

Worst moments of the album: None.

Released in 2016 Nuclear Blast

Track listing
1. The Moth 4:38
2. Cause for Alarm (feat. Jason Succof) 3:22
3. Lost 4:57
4. Father of Lies 5:05
5. Hell to Pay 3:12
6. It Can’t Be This 4:16
7. Hatred United/United Hate (feat. Andreas Kisser) 5:17
8. Breakaway 4:01
9. The Electric Cell 4:38
10. Let the Pieces Fall 5:47

CD/DVD Digipak bonus track
11. Wasteland 5:18

Band members
Mark Osegueda – vocals
Rob Cavestany – guitar
Ted Aguilar – guitar
Damien Sisson – bass
Will Carroll – drums

Guest musicians
Jason Suecof – guitar solo on “Cause for Alarm”
Andreas Kisser – guitar solo on “Hatred United/United Hate”

Concert Review – Heavy Montréal 2014 Day 2 (Parc Jean-Drapeau, Montreal, QC, 08/10/2014)

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A scorching hot Sunday of impeccable heavy music in Montreal.

DEATH ANGEL

IMG_2880After a good night of rest I was ready for more Heavy Montréal at Parc Jean Drapeau on Sunday. However, not only I was able to arrive really early that day (missing only a couple of minor bands), but also the sun was a lot hotter and the lineup  a billion times heavier, turning that day into some kind of heavy music survival camp, which was totally awesome.

The first attraction I was able to check on Sunday was American Thrash Metal band Death Angel, who at 1:30pm delivered a very consistent concert at the Heavy Stage, mixing some old songs with new ones from their most recent album from 2013 in their SETLIST, with highlights to the title-track The Dream Calls For Blood, one of the songs with the highest response from thousands of thrash metallers already present at the festival. And, of course, the energy lead singer Mark Osegueda emanates throughout the entire show was more than admirable.

Band members
Mark Osegueda – vocals
Rob Cavestany – lead guitar
Ted Aguilar – guitars
Damien Sisson – bass guitar
Will Carroll – drums

EXODUS

IMG_2883When American Thrash Metal beasts Exodus started their sonic Armageddon at 2:15pm at the Molson Canadian Stage, especially with the return of Steve “Zetro” Souza on vocals, the smile on the faces of all fans perfectly represented what Exodus are: a nonstop Thrash Metal machine ready to rumble until there’s no one standing anymore. I’ve always considered them the “extra” element that would transform the Big Four into a Big Five, and everytime I see them live I believe in that even more.

Despite not playing any new stuff from their upcoming album Blood In, Blood Out (which I really cannot wait to take a listen to), their short but superb SETLIST was a perfect lesson in Thrash Metal: Bonded By Blood, Blacklist, Toxic Waltz, Piranha, Strike of the Beast, among other masterful songs, were the soundtrack for intense circle pits, furious headbanging and constant beer drinking.

All band members were on fire, especially the returning Zetro (and his HUGE belly) and the riff master Gary Holt, a man that deserves a lot more recognition in the world of heavy music than he actually has. Maybe the only issues with their concert were sound of the guitars, which were too low compared to the drums, and the fact they had only 45 minutes to play. Anyway, the “Exodus Atack” might have been short, but it was indeed extremely effective.

Band members
Steve “Zetro” Souza – vocals
Gary Holt – guitar
Lee Altus – guitar
Jack Gibson – bass
Tom Hunting – drums

EPICA

IMG_2886After the BEASTS from Exodus, it was time for everyone to relax (and bang their heads, of course) with the BEAUTY Simone Simons and her bandmates from Dutch Symphonic Metal band Epica at 3:00pm, at the Heavy Stage. Their SETLIST was also pretty short, but instead of playing their classics they decided to offer their fans a concert full of new songs from their brand new album, the excellent The Quantum Enigma, which worked really well for them: everybody watching their performance truly enjoyed songs like The Second Stone, The Essence of Silence and Unchain Utopia.

Obviously, everyone had their eyes fixed on the stunning Simone, who is not only extremely gorgeous, but an awesome singer and a very sympathetic and charismatic frontwoman. Her headbanging was also amazing, especially due to the effect her beautiful long red hair had on that. Lastly, Simone mentioned they’re getting back to Canada in October with Machine Head and Children of Bodom, this time for a full 2-hour concert. Are you going to miss that unique opportunity?

Band members
Simone Simons – lead vocals
Mark Jansen – rhythm guitar, grunts, screams
Isaac Delahaye – lead guitar, backing vocals
Rob van der Loo – bass
Coen Janssen – synthesizer, piano
Ariën van Weesenbeek – drums, grunts, spoken words

BODY COUNT

IMG_2898I skipped Symphony X not only because they’re quite boring, but also to breathe some fresh air, watch good-quality wrestling matches at the Heavy Mania Stage, drink a couple of beers, and get ready for American Crossover Thrash band Body Count. At 4:30pm there they were at the Heavy Stage, or I should say that Body Count was literally “in the house”: that was a very entertaining concert, full of classics such as Body Count’s In the House, Disorder (my favorite of their SETLIST), Cop Killer and Talk Shit, Get Shot.

I must say that Ice-T, the mastermind behind Body Count, is a motherfuckin’ great frontman. Even after all those years, the man still got it and perfectly interacted with each and every person from the crowd. The funniest part was when he pointed to a girl and asked her age. She said she was only 16, for his surprise, as he replied back saying he would expect to see her at a Justin Bieber concert, not at Body Count, but he was 100% happy with her being there. He then pronounced some “beautiful” words for her, saying it was a pleasure to have her there and that the whole band truly respected that “bitch”. Well, the “bitch” seemed to be honored with his words. A day to remember, “bitch”!

Band members
Ice-T – vocals
Ernie C – lead guitar
Juan of the Dead – rhythm guitar
Sean E Sean – sampler, backing vocals
Vincent Price – bass
Ill Will – drums

BAD RELIGION

IMG_2902After skipping another concert, Hatebreed, and watching only 5 minutes of Alestorm’s performance at the Apocalypse Stage, I ran back to the Heavy Stage at 6:00pm for a memorable performance by American Punk Rock icons Bad Religion. The band was back in town just one year after their last performance there, or as frontman Greg Graffin said during the show, Bad Religion were back to Montreal “1 year later, 10 years older, and all fans looking better than ever”.

And what can be said about a nonstop SETLIST with 22 songs, including masterpieces such as Recipe for Hate, Struck a Nerve, 21st Century (Digital Boy), Infected, Punk Rock Song and American Jesus? It was pure madness, with kudos to drummer Brooks Wackerman for pounding his drums so intensely that each and every song became even better than the studio versions. Bad Religion might look 10 years older, but they sound like if they were all in their mid-20’s.

Band members
Greg Graffin – lead vocals
Brian Baker – lead guitar, backing vocals
Mike Dimkich – guitar, backing vocals
Brett Gurewitz – guitar, backing vocals
Jay Bentley – bass, backing vocals
Brooks Wackerman – drums, percussion

LAMB OF GOD

IMG_2907The sun was still scorching hot at 7:00pm when Twisted Sister hit the stage, so I decided to rest for a while at the Wi-Fi zone before heading back to the Heavy Stage, where at 8:00pm American Groove Metal band Lamb of God began their sonic massacre to the total delight of their diehard fans. They played a pretty decent SETLIST, with powerful songs like Walk with Me in Hell, Laid To Rest and Redneck, all accompanied by their respective awesome disturbing videos depending of course on the lyric theme, showing random images of junkies, religious fanatics such as Jim Jones and his followers, among others. That was an amazing addition to the show, holding the attention of even who was not a fan of their music.

However, it was lead singer Randy Blythe who stole the show with his close interaction with the audience, especially his funny jokes and messages, like when he said Dee Snider is one of his biggest idols (as they both have their issues with the law), his admiration for the badass names “Saskatoon, Saskatchewan”, and mainly when he asked everyone to give him a huge fuckin’ “WOOOOOO!” in honor of the Nature Boy, the one and only wrestling legend Ric Flair. And I guess I don’t need to mention anything about the insane mosh pits, right?

Band members
Randy Blythe – vocals
Mark Morton – guitar
Willie Adler – guitar
John Campbell – bass
Chris Adler – drums

SLAYER

IMG_2909You don’t need to ask anyone what you should or should not play when you’re FUCKIN’ SLAYER! At 9:15pm, American Thrash Metal behemoths tamed the Molson Canadian Stage for a brutal performance that almost devastated the whole island, bringing even the “plague” (or tons of mosquitoes) to Heavy Montréal (according to Tom Araya himself) and closing the festival on a perfect note. The most evil band in the world didn’t play any new songs, not even the recently released Implode, and of course there were no fuckin’ “requests” in their SETLIST. They simply chose to stick to their basics instead, bombarding each fan attending the concert with undisputed Thrash Metal classics such as War Ensemble, At Dawn They Sleep, Spirit in Black, Disciple, Raining Blood, Die By the Sword and Angel of Death.

It was another flawless performance by Tom Araya, Kerry King, Gary Holt and Paul Bostaph, and one thing must be said about Gary and Paul: they had some absurdly humongous shoes to fill when they replaced the gods Jeff Hanneman and Dave Lombardo, but their synergy with the other guys and their passion for heavy music make it look like they’ve always been with the band. Gary Holt is a guitar beast, as I’ve said a billion times already, and Paul Bostaph is so awesome he makes playing drums look like it’s the easiest thing in the world.

In between the songs and all the sick circle pits happening all over the festival, Tom Araya thanked the fans a thousand times for being there, saying they were the reason for that kind of festival to exist. He seemed really happy and honored by how loud everyone was screaming their names and singing their songs during the entire concert. In addition, he also tried to send some meaningful messages to the crowd while introducing some songs, like when he mentioned the horrible conflict that’s happening now between Israel and Palestine, before playing the masterpiece Die By the Sword. Do I need to say a “Slayer by Request” is totally unnecessary, especially when a band is so impressive as they are, no matter what they choose to play? I believe all the “SLAYER! SLAYER! SLAYER!” screams that echoed really loudly at the venue when the concert was over, at all subway stations and even at a McDonald’s where I had a pit stop to get some food can answer that.

Band members
Tom Araya – vocals, bass
Kerry King – guitar
Gary Holt – guitar
Paul Bostaph – drums

FINAL THOUGHTS

This was probably the best edition in the history of Heavy Montréal, because not only the main-eventers were brilliant, but mainly because the way everything was set up made the whole experience really pleasant for any type of person attending the festival. For instance, the extra stage this year allowed even more independent and/or newer bands to get known by the audience, the continuation of the Heavy Mania Stage was a great success, and the Heavy Montréal 2014 App was more than helpful for everybody.

Moreover, I don’t remember seeing any incidents during both days at Parc Jean-Drapeau. I cannot believe it’s 2014 and some idiots keep insisting on saying headbangers are violent people, when in fact we’re the most easy-going people in the whole fuckin’ world. Anyway, it’s time to recover from those two intense days, work, study, listen to metal and enjoy the local concerts wherever you are, until a new edition of Heavy Montréal is forged in the fires of heavy music next year for our pure delectation. What are your thoughts about Heavy Montréal 2014? Which attractions did or did not meet your expectations? And who do you want to see at Heavy Montréal 2015? Leave your comments below (if you have any) and, of course, keep listening to heavy music.