Tag Archives: folk metal

Midnight Madness Metal e-Radio Promo Hour Of The Day – From Monday To Friday @ 8pm GMT+2

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http://midnight-madness.is-a-rockstar.com/Great news for all of you metalheads!

FROM MONDAY TO FRIDAY @ 8pm GMT+2, one of our kick-ass partners, Midnight Madness Metal e-Radio, broadcasting directly from Athens, Greece, will blast the best of underground metal music reviewed here at The Headbanging Moose during the PROMO HOUR OF THE DAY!

So remember, FROM MONDAY TO FRIDAY @ 8PM GMT+2 tune into Midnight Madness Metal e-Radio to get your daily shot of the cream of the underground metal music crop, from Hard Rock to Black Metal, from Folk Metal to Thrash Metal, from Doom Metal to Metalcore, and so on! You’ll have the unique pleasure of listening to the superb music by bands like Charm Designer, Neverworld, Majesty Of Revival, Nervosa, False Coda, Atonismen, Diabolizer, The Silent Rage, Terrifier, Gaerea, and tons of other amazing metal acts from all over the world!

Here are all the options where can blow your speakers with Midnight Madness:

Official website
Twitter
Online Radio Box
Tunein
Streema
Listen2MyRadio
Radio Garden

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Album Review – Horn / Turm am Hang (2017)

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One of the most respected underground musicians from Germany returns with more of his nature-themed, medieval style Black Metal bound to pagan roots and tribalism in another remarkable album.

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coverSince its creation in 2002 by German multi-instrumentalist Niklas “Nerrath”, Teutonic one-man army Horn has aimed at creating nature-themed, medieval style Black Metal bound to pagan roots, focusing on the relation of man and nature in a regional context. And this excellent project, hailing from Paderborn, a city in eastern North Rhine-Westphalia, Germany, has been extremely successful in its journey, delivering high-end extreme music always with a meaningful concept behind it and always singing in its mother tongue German. Now, in the beginning of 2017, we have Horn’s seventh studio album, the folk, dynamic opus Turm Am Hang.

Inspired by the classic German folk song “Es ist ein Schnitter”, from the 17th century, as well as lansquenets (a gambling game of German origin), wars of the past, tribalism and the spirit of masculinity, Turm Am Hang will stimulate your most primeval senses with its distinctive ambience and powerful music. Furthermore, the artwork, layout and visual concept, all brought forth by German illustrator Timon Kokott, perfectly visualize the album’s combined musical and lyrical themes, complementing the already thrilling experience of listening to the music crafted by Nerrath.

After a pleasant folk intro in the opening track, titled Alles in einem Schnitt (which would translate as “everything in one cut”), Nerrath offers us his thrilling Black Metal with Folk and Pagan Metal elements, all sung in German as aforementioned to make things even more aggressive, not to mention the uniqueness of his tribal and stylish guitar lines. The title-track Turm am Hang (“tower on slope”) also begins in a serene way, again exploding into what can be called Blackened Folk Metal, with Nerrath blasting his enraged growls, potent beats and blazing, rhythmic riffs; followed by Verhallend in Landstrichen (“ranging in landscapes”), with the folk elements in the background adding a lot of epicness to the musicality together with its menacing drums. Furthermore, simply close your eyes and you will be able to feel all the energy flowing from the folkloristic sounds generated by Nerrath in this brilliant composition.

primarA song with an impactful name like Die mit dem Bogen auf dem Kreuz (“the one with the bow on the cross”) couldn’t sound less amazing than this, with its somber intro being gradually joined by guitars until all becomes an Extreme Metal extravaganza, perfect for drinking a few pints of beer together with your friends. Ä(h)renschnitter (“spices”) kicks off at full speed, with Nerrath going berserk with his fast-paced beats and riffs while powerfully vociferating the song’s lyrics at the same time. Moreover, hints of old school German Punk Rock are a very welcome addition to the overall musicality, enhancing the song’s effectiveness. And in Totenräumer (“Mortimer”), a fantastic fast-paced creation by Nerrath, our one-man army is startling on vocals, giving life to the song’s epic lyrics. Leaning towards sheer Pagan Metal, it never slows down, keeping the listener fully entertained from start to finish.

The eerie instrumental Lanz und Spieß (“lance and spear”) works as an intro for Bastion, im Seegang tauber Fels (“bastion, in the sea of deaf rock”), a voyage through the realms of experimental and atmospheric extreme music, bringing forward elements of Black and Pagan Metal with an obscure rhythm. Ad lastly, as a “bonus” Nerrath offers the listener his excellent version for The Sky Has Not Always Been This Way, a melancholic and introspective journey of ambient music by American Ambient Black Metal band When Bitter Spring Sleeps, from their 2013 album Coven of the Wolves. Not only this is the only song in English in the album, but it also features guest vocals by American Lord Sardonyx, the mastermind behind When Bitter Spring Sleeps himself.

In order to enjoy everything Nerrath and his amazing project Horn have to offer, simply follow his steps on Facebook, and go to Horn’s BandCamp page or Big Cartel to grab your copy of Turm am Hang. As mentioned before, the experience of listening to an album by Horn is beyond unique, connecting you to the pagan and tribal origins of man and embraced all the time by superior metal music. As this is always the main goal of ambient and experimental extreme music, I must say Turm am Hang triumphs brilliantly hands down.

Best moments of the album: Alles in einem Schnitt, Verhallend in Landstrichen and Totenräumer.

Worst moments of the album: Bastion, im Seegang tauber Fels.

Released in 2017 Iron Bonehead/Northern Silence Productions

Track listing
1. Alles in einem Schnitt 5:42
2. Turm am Hang 5:09
3. Verhallend in Landstrichen 5:10
4. Die mit dem Bogen auf dem Kreuz 5:00
5. Ä(h)renschnitter 5:35
6. Totenräumer 5:34
7. Lanz und Spieß 2:09
8. Bastion, im Seegang tauber Fels 4:44
9. The Sky Has Not Always Been This Way (When Bitter Spring Sleeps cover) 8:12

Band members
Nerrath – vocals, all instruments

Guest musician
Lord Sardonyx – additional vocals on “The Sky Has Not Always Been This Way”

Metal Chick of the Month – Nicole Ansperger

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One last silver kiss before the last string decays…

We’ve already had some incredible vocalists, guitarists, bassists, keyboardists, drummers and even a saxophonist here at The Headbanging Moose among our metal chicks to properly celebrate the power and importance of women in heavy music, but never a musician like the one selected to conclude the year of 2016. Can you think of anything more unconventional (and charming) than a stunning female fiddler playing kick-ass Heavy Metal? That’s exactly the case with German bombshell Nicole Ansperger, a high-skilled mistress of Celtic Folk fiddling known for her contributions to different groups and projects such as Swiss Folk Metal band Eluveitie, German Folk Rock group Paddy Goes To Holyhead, German Folk Punk band Across the Border and German Neo-Classical Metal orchestra Haggard.

Born in 1981 in the beautiful city of Stuttgart, Germany, our talented fiddler said her strong passion for playing music came to light after listening to the music by Italian composer and virtuoso violinist Antonio Vivaldi, famous for his highly-acclaimed series of violin concertos known as The Four Seasons. At the age of 6, she became a student of violinist George Moradian, who knew exactly how to help her develop her style and utilize all her natural potential, always by practicing famous pieces by masters such as Vivaldi and Bach and adding her own style to those. Then, at the age of nineteen, instead of becoming part of an orchestra she ended up joining her first Folk Rock band, learning then how to do improvisations, her true passion in music. Nicole never really thought about following a career playing the violin, it was just a hobby for her at first, but since 2005 she has been involved in so many bands, projects and concerts that she was able to turn music into her main profession.

Due to a guest visit with the famous band The Hooters, she was discovered by German Folk Rock band Paddy Goes To Holyhead in 2005, later joining Folk Punk band Across the Border in 2008 and recording two albums with them, named Loyalty (2009) and Folkpunk Air-Raid (2011). In addition to that, she played several concerts with German Symphonic Metal band Haggard in 2013, such as the one and only Wacken Open Air. You can have a good time listening to her solid performances with those bands on many YouTube videos, such as Across The Border’s Loyalty, Fucked Up World and Übers Meer / Rio Reiser, as well as Paddy Goes To Holyhead’s Far Away and Great Song of Whiskey. Apart from those bands, she also played violin in the 2006 album Fairy and the Dragon (a project of Jo Naumann from Paddy Goes To Holyhead), she was a guest violinist in the 2014 album Wegweiser, by Swiss Melodic Death/Folk Metal band Abinchova as you can witness in the excellent tune Flaschengeist, and she also played violin on Winter’s Judgement, by Italian band Misteyes, from their 2016 album Creeping Time.

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However, it was in 2013 when she became a member of Eluveitie that she finally conquered the world of heavy music, replacing Meri Tadić on the violin and cello on December 11 of that year, having recorded with those Swiss metallers the singles King (her solo on this tune is simply superb) and The Call of the Mountains, and the full-length album Origins, all in 2014. And in case you want to see one of her violin solos with Eluveitie, I suggest you take a listen at this soulful one announcing her first full gig with Eluveitie. When asked about how she was invited to join Eluveitie, Nicole said she was at a concert and met a guy who knew the band, who then asked her if she would be interested in playing with them. Obviously, her answer was positive, and the guy got her in contact with Swiss multi-instrumentalist Chrigel Glanzmann, the mastermind behind Eluveitie, to whom she provided some of her demos. I guess I don’t need to say how good those demos were and what resulted out of that, right? Sadly, due to her family situation, our talented fiddler had to leave Eluveitie on August 3, 2015, as it became impossible for her to be on the road with the band constantly. The departure was very harmonious, though. “Unfortunately, it can be extremely difficult to manage personal obligations and take care of a family alongside a life of constant touring, and Nicole’s priorities are with her family – where they should be. We are parting amicably and would like to thank Nicole for the good times and her musical contribution. It’s been an honour to share stage and studio with such a talented musician!”, commented Eluveitie, while Nicole complemented saying that “this certainly doesn‘t mean an end to my musical career. Music will always be a very important part of my life and who knows – maybe we‘ll see each other again one day.” And guess what? It didn’t take too long for Nicole and Eluveitie to meet again. For our total delight, she rejoined the band in the middle of 2016, already playing several summer festivals with the band, including the always fantastic Wacken Open Air.

When asked about her biggest challenge from all bands she has already played in her career, she mentioned the time she played with Haggard, mainly the first few gigs like the very first one in Mexico, when she had only one week to practice the entire set and hadn’t met anyone from the band before. And although she has played most of her career in Germany, she said she still wants to visit lots of different countries, naming Australia as one of her desired destinations. Finally, before you complain that I haven’t mentioned her biggest idols in heavy music, here they are to conclude this tribute to the talented Nicole! When she was a teenager, she mentioned she used to listen a lot to old school bands such as Iron Maiden and Black Sabbath, switching to more contemporary and intricate groups like Opeth and Dream Theater in recent years. Well, no matter what, we have to admit our gracious Nicole has indeed an amazing taste for music.

Equipment
Diamo Carbon Violin
Viper 7 String Wood Violin
Acoustic Violin with Magnetic Pickup
Accoustic Cello Rouen 2008
Audioprotect/Vision Inear

Nicole Ansperger’s Official Facebook page

Album Review – IceThurS / Unlocked Door (2016)

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Inspired by the Norse myth of the Ratatoskr, this Russian power trio brings forth nine first-class atmospheric and upbeat compositions in a unique fusion of genres labeled by the band as “Urban Folk Metal”.

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icethurs-unlocked-door-cover-1500%d1%851500x300dpi-rgbBrothers in arms, behold the rise of an awesome Russian Urban Folk Metal horde known as IceThurS who, guided by the one and only Ratatoskr, are going to put us all to dance around the fire pit and engage into some brawls to the sound of their debut full-length album, the uproarious, fun and catchy Unlocked Door (or НЕзапертая дверь in Russian). In Norse mythology, Ratatoskr, Old Norse for “drill-tooth” or “bore-tooth”, is a squirrel who runs up and down the world tree Yggdrasil, an immense mythical tree that connects the nine worlds in Norse cosmology, carrying messages between the Veðrfölnir (a hawk sitting between the eyes of an unnamed eagle that is perched on top of the tree) and the wyrm Níðhöggr (a dragon who gnaws at a root of the tree). If you got slightly lost with the explanation of who our hardworking squirrel is, just see it as a symbol of degeneration and constant change of the existing, the main ingredients of a diverse album evoking the feelings of joy, festivity, sadness, victory and defeat, sometimes all in one song.

Formed in 2011 in the city of Moscow, IceThurS bring forth a unique blend of modern Melodic Death Metal with traditional Folk Metal and Russian music in Unlocked Door, resulting in atmospheric and upbeat compositions that live up to the legacy of ancient Slavic tradition and myth. Singing about topics such as nature, paganism and Norse folklore, the power trio formed by lead singer Ekaterina Loky, guitarist Anton Garm and bassist Andrey Konurovskiy, supported by a legion of amazing guest musicians on bass, drums, backing vocals and other instruments, delivers nine distinct songs in Unlocked Door that will surely entertain you from start to finish, each one telling their own story and all being an important part of the bigger picture proposed by the band.

Get ready to start dancing and prancing while drinking a pint of mead as their Urban Folk Metal comes crushing in the opening track En Sjörövare Sagan (Пиратская Сага), where the fantastic vocals by Ekaterina guide the listener through a vibrant folk journey with highlights to the harmonious and electrified solo by Anton; followed by Gift (Дар), with its futuristic beginning morphing into modern Folk Metal with elements of Alternative Metal added to the background, while Ekaterina’s vocals continue to hypnotize us. In addition, guest bassist Igor Batsov provides the musicality his special blast of grooviness through his metallic lines, enhancing the overall quality of this solid tune. Then we are treated to a fun devastation brought forth by IceThurS entitled Compotator (Собутыльник), an explosion of Death Metal where Anton is a beast with his guitar, delivering a blend of Thrash and Death Metal riffs that sound at times like a folk version of Arch Enemy.

icethursGetting back to their foundations, the band brings forward White Road (Белая дорога), a charming Folk Metal chant where Ekaterina has a very passionate performance whereas guest drummer Efim Burak makes the song more potent and aggressive through his beats, with its second half being a violent and melodious display of modern folk. Efim continues to pound his drums in the epic and thrilling Loki (Локи), supported by guest bassist Ivan Izotov, providing Ekaterina what she needs to showcase all her vocal range throughout the entire song. And exhibiting elements from the band’s cultural background, Razguliai (Разгуляй)  reminds me of some of the creations by their countrymen Arkona, sounding very traditional but with the band’s modern touch added to it. The only issue for me is that the song loses some of its electricity after a while, despite still being very enjoyable until the end.

The rebellious War (Война) presents a powerful vocal duo comprised of Ekaterina and guest singer Dmitry Stempkovsky, an enraged song with blazing guitar lines and a very melodic atmosphere that will inspire you to raise your fists and glasses in the air, before Vengeance of Veles (Велесова месть) offers the listener once again modern extreme music mixed with traditional Russian elements. Furthermore, Ekaterina fires some sick growls while Andrey smashes his bass strings in a potent way in this beer-drinking anthem, and if you know nothing about Russian please enjoy the translation to part of the lyrics as they’re truly poetic (“Everything that existed before / And was pleasant for heart / Became our ice grave / Let the blood in the veins / Get cold / Fury has raised up / This heart”). Last but not least, the title-track Unlocked Door (НЕзапертая Дверь) is sheer heaviness blended with an intricate instrumental, all spiced up by Ekaterina’s thrilling vocal lines. Showcasing a beautiful balance between demented gnarls and folk clean vocals, this full-bodied composition perfectly depicts everything IceThurS stands for.

IceThurS and their wild Slavic music are waiting for you on their Facebook page, VKontakte and YouTube channel, and if you want to take the fast Ratatoskr home you can go to the Bud Metal Records’ BandCamp page, to the band’s Facebook shop, to iTunes or to Amazon and grab your copy of Unlocked Door. In other words, enter the world of Urban Folk Metal crafted by IceThurS, and consequently make a friendly mythological squirrel extremely happy, how about that?

Best moments of the album: En Sjörövare Sagan (Пиратская Сага), Compotator (Собутыльник) and Unlocked Door (НЕзапертая Дверь).

Worst moments of the album: Razguliai (Разгуляй).

Released in 2016 Bud Metal Records

Track listing
1. En Sjörövare Sagan (Пиратская сага) 3:47
2. Gift (Дар) 3:52
3. Compotator (Собутыльник) 3:28
4. White Road (Белая дорога) 5:03
5. Loki (Локи) 4:24
6. Razguliai (Разгуляй) 3:34
7. War (Война) 4:05
8. Vengeance of Veles (Велесова месть) 3:26
9. Unlocked Door (НЕзапертая Дверь) 3:40

Band members
Ekaterina Loky – lead vocals
Anton Garm – guitars, vocals
Andrey Konurovskiy – bass, vocals

Guest musicians
Dmitry Stempkovsky – vocals on “War”
Igor Batsov – bass on “Compotator”, “En Sjörövare Sagan”, “Gift” and “Razguliai”
Efim Burak – drums on “White Road” and “Loki”
Ivan Izotov – bass on “White Road” and “Loki”
Svetlana Faliy, Egor Palenik, Jana Artekovskaya, Jaroslav Minchenko, Nancy Dardis, Larissa Kolesnikova, Vladislav Ivanov, Eugene Chub, Dmitri Kalinin – backing vocals, choir

Album Review – Thrawsunblat / Metachthonia (2016)

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Welcome to Metachthonia, the electric and modern world crafted by an amazing Folk and Melodic Black Metal band from Canada.

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CDI101_1P_insert.epsMetachthonia:
(meh-tah-KTHOH-nee-ah) n. [< A.Grk meta- ‘after’ + chthoni- (stem of chthon ‘earth’ + -ios adj. suffix) + -a;]
1. the epoch after the age of the earth; this current electric age.

Dear metalheads from all over the world, welcome to Metachthonia, the brand new concept album by Canadian Folk/Melodic Black Metal act Thrawsunblat. Metachthonia is ancient Greek for “the age after that of the Earth”, referring to today’s modern world where we find ourselves under fluorescent light more often than sunlight, and so yearn for the natural world. Firing a unique blend of Folk and Black Metal inspired by bands such as Amon Amarth, Borknagar and Ensiferum, being even labeled as “Folkened Black Metal”, this extremely talented band from the city of Fredericton, the capital of the province of New Brunswick, puts no limits to their creations, offering the listener an eccentric and fresh version of extreme music that will captivate you from start to finish.

Formed in 2009 by multi-instrumentalist Joel Violette (ex-guitarist for Woods of Ypres) as a side project together with David Gold, the lead singer and drummer for Woods of Ypres, and having released their debut album named Canada 2010 that same year, Thrawsunblat became Joel’s main band following David’s tragic death in December 2011 as a result of an automobile accident. In 2013, the band released their second album, entitled Thrawsunblat II: Wanderer on the Continent of Saplings, already featuring Brendan Hayter on bass and Rae Amitay on drums, as well as fiddler Jeff Mott (and obviously Joel), presenting a more complex side of their music. Now in Metachthonia (which by the way has each one of its songs divided in three parts as you can see HERE), not only Jeff and his fiddle were replaced by cellist Raphael Weinroth-Browne, but the band also decided to venture through darker paths, sounding more blackened than before and, therefore, more intense and thrilling.

The 11-minute hymn Fires That Light the Earth is a beautiful start to the album. Although the strong sound of the cello is very captivating, it’s when the music explodes into the “Folkened Black Metal” proposed by the band, with Rae setting fire to the music with his bestial beats while Joel is anger incarnate, that the journey truly takes off. In addition, the clean vocals add epicness to the musicality, with the guitar lines by Joel and the bass lines by Brendan creating an ocean of sounds and vibrations. When the smoother and more melodic She Who Names the Stars begins, Joel and his crew are waiting for the listener at Metachtonia with arms wide open (“All you, welcome to Metachthonia. / It’s like the rustle of leaf to ground against the industrial sound. / All you, welcome to Metachthonia. / It’s like the sun on your skin while the diodes draw you in.”), with the cello by Raphael providing a good balance with Rae’s furious drumming. The music flows flawlessly throughout the almost ten minutes of the song, arising all types of emotions until its harmonious ending.

thrawsunblat logoIn Dead of Winter, a short choir-like intro morphs into sheer madness, a Blackened Folk Metal feast where Joel and Rae steal the spotlight with their awesome harsh growls/clean vocals alternation and infernal beats, respectively. It’s interesting how they prepare the listener for the sudden eruptions of Extreme Metal, with acoustic folk sounds bursting into an avalanche of blackened music. Hypochthonic Remnants is more violent and visceral than all previous tracks, mainly due to the thunderous guitar lines by Joel, enhanced by the song’s endless progressiveness and the hints of traditional Heavy Metal and even Power Metal added to its main riff. Furthermore, its second part is a solid blend of the Folk Metal by Ensiferum with the darkened sonority of Borknagar and Old Man’s Child, which then flows into an melancholic acoustic ending.

Tribal drums ignite another obscure voyage of progressive folk music named Rivers of Underthought, the least violent of all songs where the unique sound of the cello by Raphael yet again adds a lot of beauty to the overall result. It’s a lot more inclined to the harmony of Folk and Pagan Metal than to the savagery of Extreme Metal, all embraced by a strong progressive ambience during the song’s almost nine minutes. And finally, In Mist We Walk kicks off in devastation mode, with the sound of the guitar by Joel together with the galloping bass lines by Brendan not leaving a single space empty in the music. Its second piece is pure high-octane Pagan Metal with atmospheric and acoustic passages, whereas its third part is made for enjoying the excellence of its lyrics (“I walk the banks of the stream of electric thought. / I cross to the warmth of where I once was. / I look down to see a sixfold flame in hand. / Sing me the dark songs of Chthonia. / Sing life immense in passion and pulse.”).

The fantastic concept of Metachthonia can be explored in more detail at the band’s official Facebook page, and if you want to provide your full support to such a distinct band you can purchase the album (which can be relished in its entirety HERE) at their BandCamp page. The electric and modern world of Metachthonia presented by Thrawsunblat might seem really dangerous at times, but we must admit it’s a lot easier to face any type of challenge or fear when the music behind it is as awesome as what’s found in this classy  and multilayered album.

Best moments of the album: Fires That Light the Earth and Dead of Winter.

Worst moments of the album: None.

Released in 2016 Ignifera Records/Broken Limbs

Track listing
1. Fires That Light the Earth 11:01
2. She Who Names the Stars 9:33
3. Dead of Winter 9:50
4. Hypochthonic Remnants 8:32
5. Rivers of Underthought 8:56
6. In Mist We Walk 11:56

Band members
Joel Violette – vocals, guitars
Brendan Hayter – bass
Raphael Weinroth-Browne – cello
Rae Amitay – drums, additional vocals on “Dead of Winter”

Album Review – Winterhymn / Blood & Shadow (2016)

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If your fearless heart claims for top-notch Epic Folk Metal, you’ll definitely enjoy this excellent compilation of songs perfect for your mead-drinking and mud-fighting parties.

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Blood&Shadow_FrontAlthough I couldn’t see Pagan/Folk Metal squad Winterhymn kicking ass live during Paganfest America Part V here in Toronto in 2014 due to traffic issues (as you can read HERE), I went after their music to get to know more about this American sextet, and let me tell you I was impressed with the energy, passion and creativity flowing from their symphonic and progressive compositions. With that said, I guess I don’t need to mention how excited I got when I received their brand new album for review, the melodious Blood & Shadow, right?

Since their inception in 2009, these folk metallers from Cincinnati, Ohio have been bringing the epicness of Celtic and Scandinavian Folk sounds to the United States, starting with their 2011 debut album Songs for the Slain until this year’s Blood & Shadow, also sharing the stage with renowned names like Eluveitie, Turisas, Chthonic, Arkona and many others. Featuring a beautiful and sanguinary artwork by Irish artist Vasilis Zikos, reflecting a scene from Winterhymn’s personal mythos (which the album is entirely based upon), Blood & Shadow is the soundtrack for drinking lots of mead and getting in random fights in the mud around a bonfire, all embraced by the undeniable talent of four brave lads and two stunning maidens.

Blending elements from Folk and Black Metal with hints of Power Metal, the melodic battle chant Blood of the Moon kicks off the album on a high note by bringing forward a very epic rhythm with highlights to the mesmerizing sound by violinist Umbriel, followed by Dream of Might, which leans towards pure Folk Metal. Albeit slower than the opening track, it still offers a high dosage of epicness, with the vocals by lead singer and guitarist Draug being perfectly complemented by the pounding drums by Valthrun and the once again incredible violin sounds by Umbriel. And the outstanding Pagan Metal composition Blood Burner is one of those songs tailored for fans of vicious battle chants who love to slam into the circle pit with a pint of cold beer in hand, with Draug and Varrik providing some exciting riffs and solos while Valthrun doesn’t let the amazing energy in the music go down.

Less violent and with a more progressive flow (but still very impactful), Legacy in Flames offers lyrics about the everyday life of a warrior nicely declaimed by Draug and bassist Alvadar (“We hunt our prey / With our last breath / By the sanguine moon / Through realms of death / So curse our name / You’ll be slaughtered all the same / Your legacy in flames”), with its last part being highly recommended for prancing around a fire pit with a pint of mead; whereas The Summoning displays a higher focus on Death Metal guttural vocals while instrumental is purely Folk Metal, a good balance that works well for a while but that unfortunately falls flat close to the end of it. Seafarer, a “Middle Earth-inspired song”, is a semi-acoustic ballad where violin and acoustic guitars generate the perfect atmosphere for Draug and his clean vocals, a soulful break from the band’s traditional battle hymns before Silenced by the Northern Winds gets back to brutal folk music with Draug leading the band’s onrush with his imposing growls, boosted by an excellent guitar solo to properly conclude this thrilling tune.

zGroup (22)In Shadow We Ride, another classic Folk Metal tune by Winterhymn, offers the listener slower beats and a fighting vibe, with its second half getting slightly heavier and, consequently, adding some extra flavor to the overall result (especially the potent bass lines by Alvadar). And in Huntsman, a serene intro morphs into brutal Pagan Metal, with its lyrics being everything a fan of this type of music loves (“They marched across the Iron Jaw with sword and helm / Seeking fabled woodland doorways to the twilight realms / The proudest of their captains are now hunted like boars / Their banners lie in gory pools upon the forest floor”). Moreover, all instruments sound potent and sharp, accrediting it to be one of the best songs of the new album for their live performances.

The final triad of Folk Metal in Blood & Shadow begins with the electrifying The Wolf’s Head, where Death and Power Metal elements arise. The song’s riffs and solos, together with the precise drumming by Valthrun, set the music on fire, with both guttural and clean vocals and the background sonority crafted by Umbriel and Exura on violin and keyboards, respectively, being absolutely outstanding. Into the Depths shows the whole band still has enough fuel for more Epic Pagan Metal, which after a solid intro gets heavier than almost everything from the album, not to mention the heroic singing by Draug. And lastly, Umbriel dictates the rhythm through her fast and melodious violin in The Chosen End, where all band members unite to provide the listener a full-bodied composition overflowing courage, passion and pain, a climatic ending for such a professional album.

If your courageous heart claims for top-notch Epic Folk Metal, go check Winterhymn’s Facebook page, as well as their YouTube channel and ReverbNation page, and don’t forget to buy their new album at the SoundAge Productions’ webstore, at the band’s BandCamp page, on iTunes or on Amazon. As aforementioned, there’s no better way to get drunk with mead and engage into mud-fighting than to the sound of such an amazing band like Winterhymn.

Best moments of the album: Blood Burner, Silenced by the Northern Winds and The Wolf’s Head.

Worst moments of the album: The Summoning.

Released in 2016 SoundAge Productions

Track listing
1. Blood of the Moon 3:48
2. Dream of Might 3:59
3. Blood Burner 3:19
4. Legacy in Flames 4:51
5. The Summoning 4:12
6. Seafarer 3:20
7. Silenced by the Northern Winds 6:53
8. In Shadow We Ride 4:47
9. Huntsman 5:23
10. The Wolf’s Head 3:39
11. Into the Depths 6:25
12. The Chosen End 4:31

Band members
Draug – vocals, lead guitar
Varrik – guitar
Alvadar – bass, backing vocals
Exura – keyboards
Umbriel – violin
Valthrun – drums

Metal Chick of the Month – Emmi Silvennoinen

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Aina sydämessäin oon… Neito pohjolan…

Brothers of the North, sharpen your swords and axes, grab your war hammers and shields, paint your faces with the colors of your Norse clans and be prepared to bleed in the battlefield fighting side by side with our Metal Chick of the Month, the lionhearted Finnish warrior Emmi Silvennoinen, former keyboardist for Finnish Epic Folk Metal band Ensiferum. If you dig Scandinavian girls and are also crazy for electrifying fighting chants, Emmi will certainly drive you moonstruck.

Born on April 9, 1988 in the city of Vantaa, Finland, the fourth most populated Finnish city and also part of the inner core of the Finnish Capital Region along with Helsinki, Espoo, and Kauniainen, Emmi stepped in as the keyboardist for Ensiferum for their live performances following the departure of Meiju Enho in September 2007, until she finally joined the band as their permanent keyboard player for the recording of the album From Afar, in 2009.

Before becoming part of Ensiferum’s metallic army, our gorgeous Scandinavian shieldmaiden was the keyboardist for a Finnish Melodic Death/Gothic Metal band named Exsecratus, from Helsinki, with whom she recorded the demo Execute, in 2006, and the full-length album Tainted Dreams, in 2007. Although the band doesn’t exist anymore, you can still enjoy Emmi’s impassioned keyboard notes embellishing the band’s sounding in interesting songs such as Under the Winter Moon, My Last Fight and Suicide. As you can see, Emmi used to play a completely different style than her work with Ensiferum, but that doesn’t mean her excellent skills behind the keyboards were less important or less effective for the music by Exsecratus.

As aforementioned, our Finnish “valkyrja” joined Ensiferum back in 2007 as the band’s keyboardist for all their upcoming live performances when in 2009 she finally got the full-time job with them, recording her first single with Ensiferum called From Afar, which is also the name of her first full-length album with the band, from 2009. From that album, one of the most interesting tracks is Twilight Tavern, which official video features live footage from the famous venue Nosturi, located in Helsinki. After that strong start, Emmi also recorded with Ensiferum the singles Stone Cold Metal (2010) and Burning Leaves (2012), the full-length album Unsung Heroes (2012), the fun Suomi Warmetal EP (2014), and more recently the full-length album One Man Army (2015).

Among all Ensiferum songs that could be used to present Emmi’s solid skills as a musician, I believe the title-track of their latest album, One Man Army, is a very good example of what she’s capable of doing. In addition, why not grab a cold beer and enjoy the sound of her keyboards in their cover versions for the all-time classics Wrathchild (Iron Maiden) and Breaking The Law (Judas Priest)? Despite the fact both original songs do not have any keyboard parts at all, she managed to add her own notes to the music, enhancing their uniqueness compared to all other cover versions for those two songs you might find anywhere.

Emmi hasn’t been in many parallel projects apart from her full-time commitment with Ensiferum, except for playing keyboards in the album Hymns of the Mortals – Songs from the North (2014) by Finnish Melodic Death Metal band Thyrien. Again, the musicality crafted by Thyrien is quite different from the Folk Metal by Ensiferum, as you can see in the excellent tune When The Horizon Burns, once again showcasing Emmi’s versatility and ability to adapt to what the music is asking for.

One very important detail about Emmi’s natural aptitude for music is that she doesn’t only play regular keyboards in her life and career, but she can also play the Hammond organ, the pump organ, the regular organ and the piano, not to mention she was also doing the backing vocals in all songs by Ensiferum. If that doesn’t prove to you how dexterous our charming keyboardist is, I honestly have no idea what really would.

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Due to the fact that Emmi was a live musician for a good couple of years with Ensiferum, I thought it would be nice to have some words from our diva regarding her life on the road, her opinion about the importance of live performances to a metal band, or anything similar to that. Fortunately, I was able to find an interview where, when asked about the differences between playing at a big festival and playing at small venues, she gave a short and sweet explanation of the importance of festivals to bands like Ensiferum. “There are usually more people who hasn’t heard of our music, and festivals are a place to show all we got”, she said, and let’s admit she’s absolutely right about that.

Furthermore, if you’re either a fan of Emmi and the music by Ensiferum or if you’re a newcomer to the world of Epic and Folk Metal, you can enjoy Emmi kicking ass on her favorite place on earth, which is on a festival stage together with the other members of the band, playing songs such as Windrider (at With Full Force XV, Germany, 2008), Lai Lai Hei and Token Of Time (both at Wacken Open Air, Germany, 2008), or even Ensiferum’s full performance at the RockHard Festival, in Germany, on May 18, 2013.

However, in the past few years Emmi was unfortunately forced to sit out of some of Ensiferum’s tours around the world for personal reasons (which were not disclosed anywhere), culminating in her definite departure from the band in April this year. In 2013, she missed the band’s South American tour which was scheduled to start on May 28 in Bogota, Colombia, with her parts being replaced by backing tracks as per a statement released by the rest of the group. And in the beginning of 2015 Emmi couldn’t make it to Ensiferum’s European and North American tours, when she was replaced by the digital accordion of Netta Skog (ex-Turisas). “This was a very tough decision for me to make to not be a part of the European and North American tours, but I am so happy that not only an amazing musician will be standing in for me, but also a close friend. I hope you all enjoy the shows and the new songs with Netta – I’m looking forward to returning to play them for you in the summer!”, she stated, showing her relationship with the band was more than perfect at that time. Unfortunately, she couldn’t get back in action due to family reasons, being replaced permanently by Netta.

Lastly, I wish there were more interviews (both written and on YouTube) with Emmi to be shared with all of you, but it looks like she’s either more reserved than the other members of the band, or that interviewers all over the world are wasting some amazing opportunities to ask a few questions to such a unique musician. Anyway, if you speak Finnish you might have a good time with this interview to a Finnish channel called MoonTV (I couldn’t understand almost anything, obviously), and if you’re a fan of radical sports you can check Emmi and the other members of Ensiferum going paragliding in the valleys of Slovenia after their concert at Metaldays, held in Tolmin, Slovenia in 2013. Adrenaline has always been the perfect catalyst for good heavy music, don’t you think?

“It’s nice to see Scandinavian folk metal bands, especially Finnish bands, are doing well all around the world. I’m proud to be part of this, and it’s nice to see people are loving this kind of music, and getting inspirations from Scandinavian bands for their own music and all their lifestyles.” – Emmi Silvennoinen

Album Review – Vindland / Hanter Savet (2016)

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Directly from the French region of Britanny, here comes a Black and Viking Metal power trio that effectively knows how to blend aggressiveness, history and culture into extreme music.

Rating4

Vindland-Hanter-Savet2016Breton, the old native Celtic language spoken in Brittany, a cultural region in the north-west of France that became an independent kingdom and then a duchy before being united with the Kingdom of France in 1532, also referred to as Less, Lesser or Little Britain (as opposed to Great Britain), might not be the most commonly used language anymore by the Bretons, but it still plays an important role in this distinct region of France. One of the most interesting usages of Breton in modern days is undoubtedly in music and arts, like what you’ll find in Hanter Savet, the brand new album by Black/Viking Metal power trio Vindland.

The lyrics, song titles and even the album title are all written in Breton, showing how much this talented band based in the city of Paimpol is connected to their roots, therefore making the whole album more organic and heartfelt. The band was formed in 2004 and, after releasing a demo, an EP and after playing a few concerts, the band split up. In 2010, however, the band was reformed and started working on what would be Hanter Savet, and based on the potency of the music found throughout the entire album I believe this time Vindland are here to stay, delivering a well-balanced mix of the brutality found in Black Metal with the epicness and emotions of Viking and Folk Metal. Although you might not understand a single word sung by the band, I’m pretty sure you’ll have a good time listening to this Breton opus.

The aforementioned aggression of Black Metal and the burning passion of Viking Metal are already united in the opening track, named Orin Kozh. The voice by frontman Romuald is that type of devilish and strident growl perfect for extreme music, supported by a musicality that’s always evolving through time due to all tempo changes without sounding tiresome or being too lengthy in duration. Treuzwelus continues the attack from where the first song ended, presenting several Folk and Pagan Metal elements in a very creative form, with Marc being precise and energetic on drums and, consequently, providing all support Romuald and Camille need for their vocals and galloping riffs, respectively. And Serr-Noz brings forward a melodic atmosphere that captures the listener’s mind and takes him on an epic Black Metal journey, with Camille discharging a high level of excitement due to his amazing guitar lines. Moreover, its magic aura only grows in intensity as the music progresses, with innumerous elements from all types of music added as a “bonus” to the listener in the background.

vindland-bandIn Pedenn Koll, its smooth intro works as “the calm before the storm” of Melodic Black Metal that suddenly arrives, with highlights to its infernal growls contrasting with the harmony built by the guitars and to another outstanding performance by Marc on drums; while in Skleur Dallus the heavier riffs by Camille, which sound a lot closer to traditional Heavy Metal, ignite this rhythmic Pagan Metal hymn. Furthermore, the music only keeps expanding its boundaries until it embraces you completely, with even its serene breaks having a lot of energy flowing. The high-end Folk Metal composition Morlusenn displays a characteristic sonority from Scandinavian music, but with the band’s own French touch, and despite focusing a lot more on its instrumental parts it’s important to say the anguished growls by Romuald sound truly amazing and are exactly what the music needed.

The band’s versatility becomes evident in Skorneg Du, as they mutate from Folk Metal to pure old school Black Metal with Viking Metal elements in a 7-minute battle chant that lives up to the tradition of the Norsemen, as well as in Skeud Ar Gwez, an epic 11-minute aria that starts in a very progressive and atmospheric form that lasts for over three minutes until it explodes into a feast of Extreme Metal. Albeit technical and professionally composed, in my opinion the music takes too long to take off, and maybe a shorter version of it in a similar format as all other songs would have been a lot more effective. And closing the album we have the bonus track And The Battle Ended, a re-recording of the original song from their 2009 EP named Ancestors’ Age, still containing the brutality and harmony of the original version but with an updated sonority following the band’s current approach.

In summary, the region of Britanny couldn’t be in better hands in terms of heavy music than with this excellent power trio, and Hanter Savet is a very good example of how history, culture and aggressiveness always work really well when combined in music and arts in general. If you want to know more about Vindland, go check their Facebook page and YouTube channel, where you can also listen to Hanter Savet in its entirety, and if you want to purchase the aubm simply visit the Black Lion Productions’ BandCamp or Big Cartel.

Best moments of the album: Treuzwelus, Serr-Noz and Skleur Dallus.

Worst moments of the album: Skeud Ar Gwez.

Released in 2016 Black Lion Productions

Track listing
1. Orin Kozh 4:32
2. Treuzwelus 6:20
3. Serr-Noz 5:55
4. Pedenn Koll 4:39
5. Skleur Dallus 4:59
6. Morlusenn 4:58
7. Skorneg Du 7:06
8. Skeud Ar Gwez 11:30

Bonus track
9. And The Battle Ended (2016 Version) 5:37

Band members
Romuald – vocals
Camille – guitars, bass
Marc – drums

Album Review – The Silent Rage / The Deadliest Scourge (2016)

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A superb display of modern and melodic Power Metal by an emerging band from Greece who unite the past, present and future of heavy music in their compositions, always sounding fresh, vigorous and exciting.

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The Silent Rage - The Deadliest Scourge Cover_HighResInvesting your energy and resources into making Power Metal in modern society “is a dangerous business, Frodo”. Apart from the mass hysteria caused by the swords and dragons from Game Of Thrones, just a very small niche of the world population still finds delight and excitement while listening to old school bands such as Manowar, Blind Guardian and many others who devoted their careers to singing about warriors and battles. Maybe it’s just a momentary trend and Power Metal will return to its glorious days soon, or maybe the advancements in technology and the modern-day life do not match with its thematic anymore. Luckily for all of us metalheads, there are still some newborn bands that not only know how to deliver high-end Power Metal, but they have also adapted their style to a more contemporary approach, sounding fresh and interesting even playing a subgenre of heavy music that’s becoming more and more relegated to the underground. Having said that, one of the best examples of how a band can be successful in this new world order are Greek Melodic Power Metal troopers The Silent Rage, who have just released their first (and superb) full-length album The Deadliest Scourge.

Formed by guitarist Nikos Siglidis in Athens, Greece in 2006, The Silent Rage have been on a roll since then, releasing their self-titled debut EP in 2009 (which got impressive feedback from global media) and another EP entitled Harvester Of Souls in 2011, thus sharing the stage with icons like Rage, Grave Digger, Stratovarius and Rotting Christ during their Greek tours. Displaying a somber artwork designed by Polish artist Michal Karcz of Parallel Worlds (who has already worked with Metal Church and VNV Nation), and featuring special guest musicians Apollo Papathanasio (Spiritual Beggars, Firewind), Yossi Sassi (Orphaned Land), Vladimir “Wolf” Reshetnikov (Arkona) and Theophilos Kritikos (Feel), The Deadliest Scourge unites the past, present and future of Power Metal in such a solid and compelling way those guys sound like veterans, but obviously always looking forward without being imprisoned in a past that unfortunately will never return.

Signal Of War, an atmospheric and somewhat tribal intro composed by guest musician Theophilos Kritikos, warms up the listener for the first song of the album named My Race Won’t Last, a modern Heavy Metal hurricane led by the unstoppable drummer Stamatis Katsafados, showcasing an amazing synchronicity between lead and backing vocals which end up strengthening the story told through the lyrics. Right after that excellent start, the title-track The Deadliest Scourge begins at full speed through the blazing riffs by Nikos and his bandmate Kostas Krikos, before Steve Venardo joins the music with his potent vocals in a solid display of contemporary Power Metal, reminding me of old school Iced Earth but with the band’s own touch and a high dosage of electricity. And pedal to the metal in what can be considered a tribute to traditional Heavy Metal by The Silent Rage entitled StormWarrior, a song that will inspire you to grab your sword and shield and head into the battlefield to the sound of its accelerated rhythm, its catchy chorus and a beyond powerful performance by Steve on vocals.

Those Greek metallers provide us another shot of pure Power Metal in Between Harmony & Sorrow, where both lead and rhythm guitars sound cutting and electrified, being beautifully complemented by the heavy and tuneful bass lines by Stavros Tsilivarakos and, consequently, keeping the level of stamina really high in the album. With guest musician Apollo Papathanasio on lead vocals, Sin Of A Pilgrim is a hybrid of traditional Heavy Metal and Hard Rock, presenting many elements found in the music by Iced Earth such as the fiery guitar solo delivered by Kostas amidst the precise beats by Stamatis. And when a song starts with an amusing guitar solo inspired by Heavy Metal from the 80’s like what we see in Leading The Legions, a powerful tune about courage and leadership, you know it’s going to be awesome. Furthermore, all band members put their hearts and souls into the making of this chant, which obviously enhances its impact and beauty.

The Silent Rage 2015e_WebResProselytize The Masses can be described as “when progressive music meets pure Heavy Metal”, because this is exactly what you get in this great composition where lyrics are as traditional as possible (“You know that they’ve ruined your life / Led your behavior this way / Forming the limits and guiding your thoughts / Setting the borders, around and around as we’ll go / There’s no awakening from this oblivion / No escape or salvation, Gatekeepers leading you blind”). It’s quite impossible not to get thrilled by its lancinating riffs, with Kostas once again stealing the spotlight with his guitar solos. If you think there can’t be more awesomeness in The Deadliest Scorge, you’re completely mistaken, because even after so many epic songs they still have the necessary energy to craft more amazing metal such as in The Right To Dream, where Stamatis continues to smash his drums relentlessly while the guitar riffs by Nikos and Kostas keep piercing our ears.

The last “triumvirate” of this flammable album brings forward more high-end Heavy Metal, starting with the metallic Thoughts Collapse, a fast and heavy tune perfect for diehard fans of old school Power Metal, with highlights to the superb job done by the dynamic duo Nikos and Kostas on guitars and to the violent growling by Steve and Nikos. In A Piece Of Eden, the band offers the listener an uplifting chorus and another spot-on performance by Stamatis on drums, not to mention Kostas’ epic solo that leads to the song’s powerful conclusion, before Shadow Spirit, an awe-inspiring and medieval Folk Metal acoustic tune, puts an end to this brilliant opus. Guest musicians Yossi Sassi and Vladimir “Wolf” Reshetnikov add an extra dosage of epicness with their eccentric instruments, while the smooth ending of the song brings peace to our beaten and bruised metal hearts, sounding delightfully melancholic.

Available as a 500 hand-numbered digipack format (which includes a bonus track entitled Inner Scars), a regular jewel case format and digital download at the band’s BandCamp page or at the Alone Records’ webstore, The Deadliest Scourge is one of those albums that definitely put a smile on the faces of all admirers of good old Power Metal. You can find more about The Silent Rage and their incredible album at their Facebook page, YouTube channel, SoundCloud and ReverbNation, and witness how Power Metal is still relevant and puissant in the world of music. May the Gods of Metal always be by the side of The Silent Rage, helping them generate a lot more top-notch Heavy Metal for many years to come, never sounding cheesy or outdated and, therefore, continue taking virtuous and precise steps on the bright path ahead of them.

Best moments of the album: The Deadliest Scourge, StormWarrior, Proselytize The Masses and Shadow Spirit.

Worst moments of the album: None.

Released in 2016 Alone Records

Track listing
1. Signal Of War (Intro) 2:29
2. My Race Won’t Last 3:46
3. The Deadliest Scourge 3:43
4. StormWarrior 5:10
5. Between Harmony & Sorrow 4:21
6. Sin Of A Pilgrim 3:17
7. Leading The Legions 4:16
8. Proselytize The Masses 4:10
9. The Right To Dream 4:16
10. Thoughts Collapse 4:59
11. A Piece Of Eden 4:51
12. Shadow Spirit 6:01

500 Hand-Numbered Digipak bonus track
13. Inner Scars 3:57

Band members
Steve Venardo – lead vocals, growls
Nikos Siglidis – guitars, growls
Kostas Krikos – lead guitar
Stavros Tsilivarakos – bass
Stamatis Katsafados – drums

Guest musicians
Theophilos Kritikos – programming and orchestration on “Signal Of War”
Apollo Papathanasio – lead vocals on “Sin Of A Pilgrim”
Yossi Sassi – ud on “Shadow Spirit”
Vladimir “Wolf” Reshetnikov – galician bagpipe and sopikla on “Shadow Spirit”

Concert Review – Cradle of Filth (Phoenix Concert Theatre, Toronto, ON, 03/06/2016)

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As Toronto turned 182 years old yesterday, nothing better than celebrating the anniversary of our beautiful city with a gargantuan amount of fuckin’ “filth”.

OPENING ACTS: Ne Obliviscaris and Butcher Babies

COF_Inquisitional Torture 2016What a lovely day in our stunning, charming and multi-cultural city of Toronto. It might not be Summer (and not even Spring) yet, but sunny Winter days with temperatures above the freezing mark like this Sunday are such a thing of beauty they make us completely forget how harsh Winter can be sometimes. Perhaps that was Mother Nature giving her “birthday gift” to all Torontonians who were celebrating the 182nd anniversary of their beloved city. And what could have been better than hosting one of the most influential Extreme Metal bands of all time at the Phoenix Concert Theatre to properly commemorate the date? Finally, after five long years, the iconic Cradle of Filth returned to the “Land of the Moose”, as Dani Filth himself stated during the show.

This metallic feast started at around 7pm, when Australian Extreme Progressive Metal band NE OBLIVISCARIS hit the stage with their fusion of Symphonic Metal, Black Metal, Heavy Metal, Folk Metal and several other subgenres of heavy music blended in their sound. It took a few minutes for those guys from Melbourne, Australia to actually warm up and start entertaining the crowd, but once their concert took off it was indeed a nice experience, especially due to the amazing performances by Tim Charles with his violin and left-handed guitarist Benjamin Baret with his wicked riffs and solos. I confess I didn’t know much about the band before this gig, which means I’ll obviously go after their music to truly understand what they’re all about. And, of course, it’s good to know there’s more high-quality metal music coming from Down Under.

Setlist
Devour Me, Colossus (Part I): Blackholes
Of Petrichor Weaves Black Noise
Xenoflux
Painters of the Tempest (Part II): Triptych Lux
Pyrrhic
And Plague Flowers the Kaleidoscope

Band members
Xen – harsh vocals
Tim Charles – clean vocals, violin
Benjamin Baret – lead guitar
Matt Klavins – guitar
Cygnus – bass
Dan Presland – drums

When their concert was over and we all had a few minutes to rest and have a beer before the next attraction, I have to say it’s always nice when people come to talk to you about anything without being too wasted or high. That happened to me when a guy from Oshawa wearing a Bad Religion T-shirt approached me to say he liked my Pantera T-shirt, and from then we started chatting about music in general, focusing on bands such as Anthrax, Megadeth, Iron Maiden and Volbeat. So kids, next time you go to a concert try not to be so wasted, falling like a bag of potatoes on everyone around you, or too “Justin Bieber-ish” that no one else can touch you or talk to you. There’s always somewhere in between that works a lot better for everybody, got it?

IMG_1117Getting back to the concert, it was then time for the dynamic duo comprised of Heidi Shepherd and Carla Harvey, known as the BUTCHER BABIES, to kick some serious ass on stage and make everyone in the audience go absolutely mental before the main attraction of the night. It was also my first time seeing them live, and I must say those girls know how to put up an entertaining show. Armed with their demonic voices and supported by very competent musicians, especially bassist Jason Klein, those two girls from Los Angeles, California (dressed like an evil version of Babymetal) didn’t stop banging their heads and screaming for a single second, showcasing their deep passion for heavy music while playing every song of their setlist, which was mostly based on their 2015 album Take It Like a Man. There were a few technical issues with their sound, but no one seemed to care about that. All people wanted were more “excuses” to slam into the pit and do some stage diving, and both Heidi and Carla knew exactly how to ignite that fire with their Alternative Metal, playing some high-octane songs such as National Bloody Anthem, The Butcher and, my favorite of the night, Monster’s Ball. Girls, Toronto loves you and we can’t wait to have you back in the city!

Setlist
National Bloody Anthem
Blonde Girls All Look the Same
The Butcher
Gravemaker
Igniter
Jesus Needs More Babies for His War Machine
Monster’s Ball
Magnolia Blvd.
The Deathsurround/Goliath/I Smell a Massacre
Axe Wound

Band members
Heidi Shepherd – vocals
Carla Harvey – vocals
Henry Flury – guitar
Jason Klein – bass
Chris Warner – drums

CRADLE OF FILTH

IMG_1144It was around 9pm when the diabolical intro Humana Inspired to Nightmare announced the gates of Hades were open wide, therefore releasing the devil’s favorite dark angels to spread hell on earth with their unparalleled Extreme Metal. Promoting their latest opus Hammer Of The Witches under their current tour entitled Inquisitional Torture 2016, British titans CRADLE OF FILTH began to mercilessly discharge a flawless mix of classics with brand new chants, driving all fans at the venue utterly crazy. When a concert starts with Heaven Torn Asunder and Cruelty Brought Thee Orchids, you know it’s going to be a fuckin’ massacre.

The most interesting fact for me about their setlist was that it was divided in two “acts”, like a theatre play. There was an intro for each act, followed by a sequence of blasting classics (covering almost all of their albums) that put a huge smile on the face of this guy here, a longtime fan of Dani and his crew. I simply love songs like Lord Abortion, Honey and Sulphur, Her Ghost in the Fog and my top Cradle of Filth song of all time, the insane From the Cradle to Enslave, but their newer stuff such as Right Wing of the Garden Triptych and Deflowering the Maidenhead, Displeasuring the Goddess work so well when played live I’m sure they’ll become a constant part of their future tours. In addition, Dani (who was the demon himself last night), as a treat to all fans for waiting patiently for the band’s return to Toronto, dedicated to all of us For Your Vulgar Delectation, from their previous album (which unfortunately could not have a Canadian tour due to visa issues).

dani_toronto2016_02The whole band was on fire and Dani’s performance was epic, screaming like a rabid demon and wearing his Stygian attire and corpsepaint the way we all love, but I have to say last night belonged to the adorable keyboardist and singer Lindsay Schoolcraft. Although she’s not exactly from Toronto (technically, she’s from Oshawa), she was so excited and pleased to play together with Dani and his crew in her hometown she couldn’t stop smiling, waving to the fans and headbanging like a maniac during the entire concert. I guess I don’t need to say how memorable the night was for our talented Canadian girl, right? The only band member I couldn’t really watch well was drummer Martin “Marthus” Škaroupka, who was “hiding” not only behind his drums, but also behind some kind of aquarium/glass cell to the left of the stage. That was a weird stage setup, by the way, as if they were keeping Marthus caged before he could escape and kill someone, but nothing that would make the whole concert less memorable.

dani_toronto2016And can you guess why Dani, Lindsay, Marthus and the other band members played so well and were so electrified last night? That’s exactly it, because of us, loyal and demented Cradle of Filth fans. I don’t remember seeing a crowd so insane and in sync with the band like that. What the fans did during Gilded Cunt, growling the lyrics together with Dani, and the furious mosh pits during Nymphetamine (Fix), which is in fact a heavy ballad and not a sick blasting tune, was truly outstanding. Even Gimli, the brave dwarf from Lord of the Rings, was among us weating a Testament T-shirt! If you were there, you know who I’m talking about. Anyway, Cradle of Filth provided us fans another memorable metal night at the Phoenix Concert Theatre, and I’m pretty sure we also made the night memorable to the band as well, especially to Lindsay. I just hope Mr. Dani Filth and his horde of darkness do not take another five years to return to the Land of the (Headbanging) Moose. Actually, how about celebrating each and every anniversary of this distinct city together with the band? That’s the type of “filth” I’m sure no one would complain to have around all the time.

Setlist
ACT I
Humana Inspired to Nightmare (Intro)
Heaven Torn Asunder
Cruelty Brought Thee Orchids
Blackest Magick in Practice
Lord Abortion
Right Wing of the Garden Triptych
Malice Through the Looking Glass
Deflowering the Maidenhead, Displeasuring the Goddess
Gilded Cunt

ACT II
Walpurgis Eve (Intro)
Yours Immortally…
Nymphetamine (Fix)
Honey and Sulphur
For Your Vulgar Delectation
Her Ghost in the Fog
From the Cradle to Enslave
The Principle of Evil Made Flesh
Born in a Burial Gown
Blooding the Hounds of Hell (Outro)

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums