Tag Archives: groove metal

Album Review – Ektomorf / Aggressor (2015)

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When you listen to this awesome album by one of the best Hungarian metal acts of all time, you’ll definitely become an aggressor.

Rating4

ektomorf_aggressorLast year, when I reviewed the excellent album Retribution, by Hungarian metallers Ektomorf, I said they were a promising band who were undoubtedly going to grow a lot in the following years due to the passion and energy they always invest into their furious mix of Groove and Thrash Metal. Well, it actually took a lot less than expect for them to reach a whole new level of savagery and become a pleasant reality in the world of heavy music, because the 46 minutes of groove and brutality found in their brand new album, entitled Aggressor, kick fuckin’ ass beyond dispute.

In addition, if you listen to Retribution and Aggressor in a row (a highly recommended activity if you’re at the gym, by the way), you’ll easily notice their evolution as musicians, in special frontman Zoltán “Zoli” Farkas who improved his hostile vocals considerably, therefore providing additional layers of fury to his band’s musicality. Not only that, their lyrics continue to be as violent as hell, totally no holds barred, which together with a more complex songwriting offer the listener one of the best Groove Metal albums of the year in my opinion.

The ominous and primeval Intro sets the tone for the massacre straightforwardly entitled I, where you can clearly see how they stepped up their aggressiveness, cohesiveness and technique if compared to most of their old songs. This is one of those tunes that will make your blood boil in a good way, pumping you up for whatever task you’re about to take on. And the title-track Aggressor is even better, making it hard not to break your fuckin’ neck to those insanely heavy riffs. Can you imagine the level of craziness this tune will cause during their live performances? Besides, the groovy bass lines by Szabolcs “Szabi” Murvai are what give the song its balance and punch, enhancing the overall quality of this great composition. In the dark Holocaust, composed “in the memory of the 6 million victims”, Ektomorf raise the flag of “never forgive, never forget” in Auschwitz, inspired by the music by Sepultura and the horrors his people suffered. If you don’t know, Zoli has European Roma/Gypsy roots, who were also massacred by the Nazi, perfectly depicted by this brutal Groove Metal tune with puncturing guitar lines and solos.

Move On gets closer to what they did in Retribution, delivering American Alternative Metal with extra doses of violence. It’s one of those songs drummer Róbert Jaksa might love playing, pounding his drums violently while the rest of the band extracts the fiercest sounds from their instruments, especially guitarist Tamás “Tomi” Schrottner; while Evil By Nature, featuring the iconic George “Corpsegrinder” Fisher, is a flawless mix of the Groove/Thrash Metal by Ektomorf with the unparalleled Death Metal by Cannibal Corpse. Everyone knows I love the growls by Corpsegrinder, and I have to say they matched perfectly with Ektomorf’s musicality. In other words, this is an amazing vocal duo, like two beasts screaming against the rest of the world, with the lyrics being spot-on showing what the human being truly is (“Hate runs through your veins / Insanity in the unspoken words / Deaf from the screams of the devil / Hungry for blood / Hungry for death”). Furthermore, take a read at Zoli’s comments on how the vocals by Corpsegrinder were recorded, giving the song an even more visceral vibe: “We are friends with the Cannibal Corpse guys since a long time. Last year in November I spoke to George (Fisher) about doing a song together. The recent Budapest show of Cannibal Corpse then was the perfect opportunity to meet and record his parts. So I took small home recording studio gear with me and recorded vocals with George in the dressing room before their show. It was fun and turned out killer! The song’s title is “Evil By Nature” and you can be sure that it will smash your face!”

ektomorf 2015Getting back to a more traditional approach, in You Can’t Get More they keep thriving with their unique Eastern European metallic groove. At this point of the album it’s undeniable how Zoli has grown as a singer and a musician, showing you don’t need to stop screaming to evolve in your career, don’t you agree? And I’m not sure if you’ve noticed this already but all songs in Aggressor are connected, enhancing the album’s flow and effectiveness, which is the case in Emotionless World, where they add elements of Melodic Death Metal to the music in a sinister ambience crafted by its sick guitar riffs, and despite its chorus not being purely screamed it ends up working pretty well. Eastside showcases an acoustic intro before it gets as belligerent as possible, with its chorus being fueled by hints of Slipknot. It’s yet another awesome composition inspired by the most obscure periods of the Hungarian history, with Zoli and Tomi doing an amazing job firing sheer darkness through their guitars.

Scars is perhaps the most generic of all songs, lacking more creativity to get to the same level of awesomeness as the other songs, whereas Damned Nation is a beautiful display of how modern Groove Metal should be. Moreover, Zoli bursts his lungs out vociferating the song’s name during the chorus of this boisterous chant made for banging our heads nonstop. The next tune, You Lost, sounds extracted from their previous album Retribution, containing lots of similar elements such as groovy bass lines, rhythmic beats and a solid shift from guttural to clean vocals and vice-versa, followed by the simple but effective You’re Not For Me, which focuses on the screams by Zoli and of course the band’s traditional heaviness. Fans of the band will love this nice blend of a fast sounding and a more rhythmic and aggressive chorus that goes on until the song darkly fades away, being replaced by the purely acoustic track Memento, a melancholic tribute to their roots and to their culture, and maybe a smoother version of the “never forgive, never forget” message as you can see by the name of the song.

In summary, what are you waiting for to connect to Ektomorf on Facebook and to purchase Aggressor at the official AFM Recods webstore (I would personally go for the superb Limited Fanbox edition) or on iTunes? If there’s one lesson Ektomorf can teach all of us, it’s for sure the fact that whenever we listen to their primitive and robust metal music, we become true aggressors.

Best moments of the album: I, Aggressor, Evil By Nature and Eastside.

Worst moments of the album: Scars.

Released in 2015 AFM Records

Track listing
1. Intro 0:45
2. I 3:49
3. Aggressor 2:35
4. Holocaust 3:56
5. Move On 3:04
6. Evil By Nature (feat. George “Corpsegrinder” Fisher) 4:23
7. You Can’t Get More 3:22
8. Emotionless World 3:26
9. Eastside 4:17
10. Scars 3:42
11. Damned Nation 2:39
12. You Lost 2:56
13. You’re Not For Me 4:50
14. Memento 3:03

Band members
Zoltán “Zoli” Farkas – vocals, guitar
Tamás “Tomi” Schrottner – guitar
Szabolcs “Szabi” Murvai – bass
Róbert Jaksa – drums

Guest musician
George “Corpsegrinder” Fisher – additional vocals on “Evil By Nature”

Album Review – Warmask / Better You Start to Run EP (2015)

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This Halloween, put your war mask on and get ready for a violent and metallic bloodshed by this talented Brazilian Thrash Metal act.

Rating5

warmask_epAs today is one of the most anticipated days of the year, the always fun Halloween, I have the perfect treat for you who doesn’t care that much about trick-or-treating or carving pumpkins, but instead prefers enjoying a cold beer, listening to some good metal music and slamming into the pit with your closest friends. I’m talking about the brand new EP by Brazilian Thrash/Groove Metal power trio Warmask, entitled Better You Start to Run, and as you might have already notice they’re properly masked and ready to haunt your soul and crush you with their merciless music not only during this All Saints’ Eve but also for many years to come, based on the exceptional quality of their music.

Hailing from the city of Caxias do Sul, located in the province of Rio Grande do Sul, Brazil, this masked trinity follows a straightforward and effective pattern in their compositions, and although they do not sound purely innovative in what they do they surely keep the fire of metal burning bright with their endless stamina, indisputable dexterity and insurgent aggression. Besides, when the music in question is Thrash Metal, a subgenre of heavy music where most fans value the level of energy and violence flowing through the instruments rather than complexity or creativity, this is all you need to kick ass.

The first song, Inner War, showcases rumbling and solid Thrash/Death Metal with tons of groove thanks to the powerful bass lines by Eduardo Ramos, with the awesome growls by singer/guitarist Paulo Henrique adding depth and ferocity to the overall result. Fans of Sepultura and Lamb Of God will connect to this tune immediately, and I’m pretty sure it will break your fuckin’ neck if you’re not careful enough. Well, who said you’re supposed to be careful while listening to high-quality metal music, right?

warmaskEven groovier and with hints of that Psychedelic Rock from the 70’s,Your Time To Fall brings lots of variations led by drummer Jonathan Reinheimer, while Paulo keeps screaming and delivering his razing riffs like there’s no tomorrow. And yet again leaning towards the modern metal played by Lamb Of God, this masked power trio continues their path of rhythmic destruction in No More Life, including elements of Doom Metal and Southern Rock the likes of Down and Crowbar. After a while, the song becomes a vicious onslaught of Thrash Metal before things slow down again and those sluggish and heavy riffs get back in action, increasing the song’s impact and quality.

Lastly, in No Way To Knowing the band doesn’t take it easy at all on the aggressiveness, with highlights to Paulo’s harsh growls especially when screaming the name of the song. In addition to that, pay attention to the excellent solo by Paulo as it adds an extra dose of harmony to the song. Unfortunately after less than 15 minutes the EP is over, but as Warmask are already working on a brand new full-length album to be released as soon as possible we can rest assured we’ll have more of their rebellious tunes to bang our heads nonstop in the future.

In summary, if the future releases by Warmask are as powerful as what’s found in Better You Start to Run, those guys will go places without a shadow of a doubt. In order to get in touch with these talented Thrash Metal insurrectionists, go check their Facebook page and YouTube channel, and you can also take a listen at the entire EP at their SoundCloud page. Well, it’s Halloween, so why don’t you put your war mask on and get ready for a violent and metallic bloodshed by this promising Brazilian power trio? I guarantee you won’t regret it.

Best moments of the album: Inner War.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Inner War 4:09
2. Your Time To Fall 3:44
3. No More Life 5:27
4. No Way To Knowing 3:38

Band members
Paulo Henrique – vocals, guitars
Eduardo Ramos – bass
Jonathan Reinheimer – drums

Album Review – Fear Factory / Genexus (2015)

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Once again, it’s time to enter the machine and surrender to the mechanized reign ruled by the undisputed masters of Industrial Metal.

Rating4

fear factory_genexusI honestly don’t understand why the music by American Industrial Metal masters Fear Factory has never been part of any of the Terminator movies. I mean, ANY of their songs are powerful, metallic and atmospheric enough to provide the perfect background for all the destruction and chaos caused by the one and only Mr. Arnold Schwarzenegger, which is also the case with the music found in their brand new automaton entitled Genexus, the ninth studio album in their exceptional career and the first to feature drummer Mike Heller (Malignancy, System Divide).

However, it’s not only the density and strength of the music by this Los Angeles-based nonstop machine that amazes me every single time they release a new album, but also the whole futuristic concept surrounding their work. For instance, the new artwork, designed by American artist Anthony Clarkson, reminds me a lot of three iconic movie characters that have everything to do with what the music proposes: the unstoppable killing machine known as the Terminator; the brainy and rebel hero Iron Man; and the mesmerizing but extremely dangerous Ava (from the cult flick Ex Machina). Put differently, Fear Factory marvelously know how to give life and emotion to cold metal.

The opening track, Autonomous Combat System, is Industrial Metal at its finest from the very first second, a violent and harmonious tune just like we always expect from this amazing band, and when the sick riffs by the unparalleled Dino Cazares and the band’s famous industrial drums begin the energy level goes through the roof. And their futuristic awesomeness goes on in Anodized, another masterful lesson in shredding (who doesn’t love riffs like these?) supporting its meaningful lyrics from a not-so-impossible future for all of us (“A transhuman state / Will liberate man’s evolution / A singularity / Maintains the peace / Machined solution / Lacerate, eviscerate / My body to redefine / My design”). The performance by Mr. Burton C. Bell with both his harsh screams and clean vocals is superb, and if you’re a fan of Alternative Metal or Nu Metal let me tell you this is an awesome example of how everything started. In Dielectric, you can feel the electricity flowing nonstop, especially through its drums that sound like a machine gun, with its background effects being so important I cannot imagine this amazing tune without them.

Then it’s time to bang your fuckin’ head to the low-tuned bass lines by Tony Campos and the vicious riffs by Mr. Cazares in Soul Hacker, where its great chorus will stick inside your mind for sure, followed by the dynamic and thrilling rhythm of ProtoMech, enhanced by its excellent lyrics (“Take everything away from me / Replace my skin with circuitry / All that I have bleeding from me / To feed the machine”) and an amazing feeling provided by its mechanized atmosphere. In my humble opinion, this is the best song of the whole album, proving once again how skillfully Fear Factory are capable of feeding the Heavy Metal machine we all love so much.

fear factoryThe superb title-track, Genexus, is like a journey to a desolated world ruled by machines, exactly like what the future shows in the Terminator franchise, showcasing all the elements that took Fear Factory to stardom, with Burton sounding enraged and ready to confront the machine for his freedom. Church of Execution also provides that mechanic and industrialized sounding and an eerie ambience with lots of groove, despite not being as kick-ass as the others due to the lack of a more violent chorus; while Regenerate, with its weird robotic effects in the background, is perhaps one of the best examples of traditional Thrash Metal modernized by Industrial and Groove Metal. Moreover, I love the energy of its chorus, and how can we not bang our heads to it?

Battle for Utopia is intended to represent the march of the machines with its furious and imposing sonority, including lots of special effects to create the atmosphere desired by the band, before Expiration Date closes the album in a very traditional way, which in the case of Fear Factory means in the form of a melancholic music voyage. Pay good attention to the beauty of its lyrics, gently declaimed by Burton (“Under the surface we’re not machines / Under the surface we’re living dreams / Death lives just one breath away / Somewhere my heart beats in silence / I made my way through the violence / Nobody lives forever”), close your eyes and let yourself be absorbed by the music and its message, the final result is outstanding.

And finally, on a side note, the bonus tracks that come with the limited edition of Genexus keep up with the rest of the album in terms of complexity, violence and electricity, with highlights to the ominous atmosphere in the smooth Enhanced Reality. In summary, if you’re ready to enter the machine engendered  by Fear Factory for the first time, or if you already surrendered to their mechanized reign a long time ago, Genexus is definitely a must-have album to your collection of extreme and melodic music.

Best moments of the album: Autonomous Combat System, ProtoMech and Genexus.

Worst moments of the album: Church of Execution and Battle for Utopia.

Released in 2015 Nuclear Blast

Track listing
1. Autonomous Combat System 5:28
2. Anodized 4:47
3. Dielectric 4:19
4. Soul Hacker 3:12
5. ProtoMech 4:56
6. Genexus 4:48
7. Church of Execution 3:21
8. Regenerate 4:02
9. Battle for Utopia 4:14
10. Expiration Date 8:48

Limited Digipak bonus tracks
11. Mandatory Sacrifice (Genexus Remix) 5:43
12. Enhanced Reality 5:36

Band members
Burton C. Bell – vocals
Dino Cazares – guitar
Tony Campos – bass guitar
Mike Heller – drums

Guest musicians
Deen Castronovo – drums on “Soul Hacker”
Laurent Tardy – piano on “Autonomous Combat System” and “Protomech”
Mister Sam – spoken words on “Autonomous Combat System” and “Expiration Date”
Damien Rainuad – programming, keyboards
Giuseppe Bassi – samples, keyboards

Album Review – Lamb of God / VII: Sturm und Drang (2015)

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Braving all the storms and stress in their lives, Mr. Randy Blythe and his squad boldly externalize their deepest fears through their aggressive new album.

Rating4

CoverSeveral bands and artists all over the world would love to benefit from the type of exposure frontman Randy Blythe got on the media after his manslaughter case, focusing on the external situation rather than on the music itself to sell more and consequently make more money. Fortunately for fans of high-quality heavy music that’s not the case with his own band, American groove metallers Lamb of God, who put together instead their talent and personal experiences to generate another excellent and violent studio album, this time entitled VII: Sturm und Drang.

Of course there are many references to Randy’s period in prison, but this is not a “prison record” according to him.  The whole album is in fact about the psychology of humans reacting under extreme conditions, which also explains its subtitle “Sturm und Drang” (a German term that means “Storm and Stress”), how we deal with our personal demons and what to expect for our future. And when the music supporting such emotional concept is as thrilling as what Lamb of God can craft, you know the album is already more than halfway to success.

Longtime fans of Lamb of God will connect instantly to the new album as soon as the brutal and vicious Still Echoes begins, led by an enraged Randy Blythe and with Chris Adler, who will drum on the new Megadeth album, proving here why he was chosen by Mustaine for the duty. And the battle rages on in the awesome Erase This, a violent but still very melodic tune where the band will break your neck mercilessly, with highlights to the great job on guitars by Willie Adler and Mark Morton, especially their solos. Then in the dark and heavy tune 512 you will be able to feel in details the time Randy spent in prison. He actually wrote the lyrics to the song in Pankrác Prison, in the Czech Republic, cell number 512 (most of his time was spent in a basement dungeon), while he was contemplating how the experience was changing him, and you can feel his desolation and pain flowing through his words (“Six bars laid across the sky / Four empty walls to fill the time / One careless word, you lose your life / A grave new world awaits inside”).

Embers, featuring lead singer Chino Moreno of Deftones, whose clean vocals sound good but nothing truly remarkable, is a rhythmic and melodic devastation perfect for their live performances to ignite some circle pits, while Footprints showcases a modern version of the band’s Groove/Thrash Metal with an amazing dark atmosphere, with Chris kicking ass on drums and Randy vociferating all his anger and frustrations. Randy is definitely not in a good mood in this song, no doubt about that. Following that bestial massacre, Overlord cools down the animosity a bit, reminding me of some of the old classics by Stone Temple Pilots but obviously heavier. It’s a good “break” from all the havoc the band has delivered so far, but that’s just until its melancholic and introspective instrumental suddenly becomes another demonic metal feast.

lamb of godThe magnificent Anthropoid is the perfect depiction of contemporary extreme metal, where although violence is the most important element present in the music, its level of complexity is still extremely high and astonishing. It’s a nonstop headbanging tune fueled by huge doses of madness and electricity, and knowing this song hasn’t been included in their most recent setlists makes me deeply sad. In Engage the Fear Machine, they slow down the rhythm once again without losing their ferocious vibe thanks to the growling vocals by Randy, to its groovier than usual riffs and to its frantic drums, which sound like bullets hitting solid metal to be more precise.

Closing the regular version of the album, it’s time for war with Lamb of God in Delusion Pandemic, where the cohesiveness among band members beautifully enhances the song’s obscurity. In addition, the metallic guitar lines by Willie and Mark provide Randy all he needs to keep kicking ass and delivering aggressive words (“Allocate your future to the delegates / Relegate your muses to the surrogates / Long green apron stings that end in hooks / Sunk deep, written off, and on the books”). And finally, Torches, featuring lead singer Greg Puciato of The Dillinger Escape Plan, is in my opinion the weakest of all tracks, very bland and generic compared to the rest of the album with nothing special to offer to the listener like most of the other songs of the album. Moreover, if you acquire the limited digipak edition of VII: Sturm und Drang, you’ll be treated to two bonus tracks, Wine & Piss and Nightmare Seeker (The Little Red House), both as good and exciting as the regular album tracks.

To sum up, it’s good to see Lamb of God are leaving their comfort zone by exploring new approaches and heights and facing their inner demons, which in the end translates into more meaningful music for the total delight of their loyal fans as we can enjoy in VII: Sturm und Drang. That is to say, if there’s a band that truly learned how to externalize all their weaknesses and fears through their music, braving all the storms and stress in their lives without showing any signs of backing off or giving up at any moment, that’s undoubtedly the ruthless squad led by the one and only Randy Blythe.

Best moments of the album: Footprints, Anthropoid and Delusion Pandemic.

Worst moments of the album: Embers and Torches.

Released in 2015 Epic Records/Nuclear Blast

Track listing
1. Still Echoes 4:22
2. Erase This 5:08
3. 512 4:44
4. Embers (feat. Chino Moreno) 4:56
5. Footprints 4:24
6. Overlord 6:28
7. Anthropoid 3:38
8. Engage the Fear Machine 4:48
9. Delusion Pandemic 4:22
10. Torches (feat. Greg Puciato) 5:17

Limited Digipak Edition bonus tracks
11.Wine & Piss 3:33
12.Nightmare Seeker (The Little Red House) 4:56

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

Guest musicians
Chino Moreno – additional vocals on “Embers”
Greg Puciato – additional vocals on “Torches”

Album Review – Omega Diatribe / Abstract Ritual EP (2015)

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Open your mind to the groovy and heavy music by this Hungarian act and you might survive the transmission.

Rating4

cover_HDThere’s a secret ancient writing stem from an unknown alien civilization, a contract between Humans and Aliens about the use of the planet Earth that states Humans could only use the Earth in a limited time, and when our time is over they’ll come back and take us to a higher level planet. However, only the open-minded people could survive the transmission. The government calls it Omega Diatribe, which is also the name of an amazing Hungarian Extreme Groove Metal band formed in Budapest in 2008 by guitarist Gergő Hájer and bassist Ákos Szathmáry.

After the release of their first promo track Forty Minutes, in 2012, and their debut full-length album entitled IAPETVS, in 2013, those Hungarian metallers return stronger than ever with a brand new EP called Abstract Ritual, where they not only keep delivering groovy polyrhythmic metal music, but they also continue their persevering trek through the limitless potential of the human mind. In other words, it’s another auspicious case of elaborate Heavy Metal permeated by an enthralling concept, and if you are a habitual reader of The Headbanging Moose you know how much we value that type of work.

That futuristic view of the world, as well as the power of the human psyche, are already explicit in the modern Thrash/Groove Metal of the opening track Subsequent Phase, with the resonant bass lines by Ákos adding a lot of power to the music. In addition, lead singer Gergely Komáromi translates the message of the lyrics into sheer aggression with his growls, enhanced by the clean and professional production of the album. Right after that promising start, it’s time to get even more barbaric and bang your fuckin’ head to the dark throbbing tune Extrinsic, which offers the listener very thoughtful lyrics despite all the violence found in it (“Don’t push me / Let me decide the fate of body / Questions remain unanswered / Leave vigor for my time / That included doubts / And eternal uncertainty”). Moreover, guitarists Gergő Hájer and Attila Császár deliver those eerie riffs perfect for this type of contemporary metal music, building a much stronger atmosphere that ends up elevating the overall quality of the song.

In Hydrozoan Periods, the band continues the upbuilding of their high-end metal music, with progressiveness and heaviness walking hand in hand. The last part of the song showcases all the anger and skills of the musicians, with highlights to Ákos and drummer Kevin Talley for the cohesive sonority they put up together. The title-track Abstract Ritual is another groovy and heavy feast, showcasing once again the aptitude those guys have for delivering an interesting concept through their lyrics (“How could it be absorbed in the mind when I’d concealed my senses? / And it returns. / It’s me sitting around the sun with these beings / I’d sunk the key for my projections into a cube and swallowed / To attach the new molecules / To be the eye”), not to mention the great performance by Gergely, who puts his heart and soul into singing and screaming those beautiful lyrics.

omega diatribeAnd in order to provide the EP a fresh ending, Omega Diatribe present the instrumental track The Quantum, where the main ingredient is a very interesting speech by the illustrious American esoteric philosopher Terence McKenna, and an alternate version for Unshadowed Days, from their 2013 debut album IAPETVS, which sounds like a completely brand new song to my ears. I personally prefer this new version especially in terms of sound quality and the extra layers of complexity added to it, but you can listen to the original one HERE and take your own conclusions.

There are countless ways to know more about Omega Diatribe and keep in touch with the band, either through their Facebook page, YouTube channel, SoundCloud and, of course, by buying their music at their BandCamp page or at the 515 Studio website. Open your mind to the music in Abstract Ritual, listen and absorb, and you might become part of the selected ones who survive the transmission.

Best moments of the album: Extrinsic and Abstract Ritual.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Subsequent Phase 4:48
2. Extrinsic 4:16
3. Hydrozoan Periods 3:17
4. Abstract Ritual 4:46
5. The Quantum 3:27
6. Unshadowed Days (Perception Remix) 6:44

Band members
Gergely Komáromi – vocals
Gergő Hájer – lead guitar
Attila Császár – guitar
Ákos Szathmáry – bass
Tommy Kiss* – drums

Additional musician
Kevin Talley – drums (studio recording)

* Drummer Tommy Kiss joined Omega Diatribe at the beginning of 2015.

Album Review – 4ARM / Survivalist (2015)

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A phenomenal heavy music album full of groove, fury and energy by an extremely talented Thrash Metal band from Down Under.

Rating3

Survivalist Album CoverWhen I saw Australian thrash metallers 4ARM here in Toronto opening for Slayer in 2013 I knew there was something special about those guys, as I was able to truly enjoy their performance even knowing nothing about their music. That’s what high-quality music does to people, and that’s what will happen to you when you take a listen at Survivalist, the magnificent new album by this Melbourne-based Groove/Thrash Metal band.

Put together the speed and violence of Testament with the modernity and groove of Trivium, adding to that beautiful mixture the talent and refined technique of this band from Down Under, and the final result is an album (or should I say a concept album, as each song is a different “chapter”?) that will become an intrinsic part of your day-to-day playlist so awesome it is. Not only that, the album art by Colin Marks at Rain Song Design, who have already worked with bands such as Exodus, Whitechapel and Suicide Silence, wraps up the musical content perfectly. With that said, let me stop typing for a few seconds while I hit play to listen to Survivalist for the 100th time.

Opening this beautiful album we have Eyes of the Slain, and it’s such a great start it’s hard to explain what it represents in just a few words. Its intro reminds me of some excerpts from the biggest classics by Trivium, before turning into fast and technical metal music perfect for circle pits with the vocals by Markus Johansson being more melodic than the average in Thrash Metal. Besides, there’s an awesome dose of melancholy and anger in this song that only makes it more remarkable. In the following tune, Fragment of a Dream, the riffs are so amazing I dare you to not enjoy them. The level of professionalism is outstanding, and I’m sure you’ll be singing its catchy chorus for days in a row (“HUMAN nature is to kill / NEW WORLD disturbing of the beast / ODER chaos / Reality is hardly what it seems / HUMAN nature is to will / NEW WORLD survive in the extreme / ORDER chaos / Belief is just a fragment of a dream”). In addition, what lead guitarist Evan K and drummer Michael Vafiotis do with their instruments is beyond amazing.

Poisoned Mind is not just another kick-ass tune: it’s an extremely dense and complex composition with the whole band demanding we bang our heads nonstop during its execution, with highlights to the beastly and harmonic drumming by Michael and to the sick bass lines by Andy Hinterreiter. This is in my humble opinion the best song of the album and a lesson in Heavy Metal that truly deserves our recognition. Slowing down a bit (but as heavy as hell), 4ARM deliver the groovy Poverty of Flesh, where its lyrics blend perfectly with its instrumental parts. Markus and Evan offer us a feast of riffs and solos only bands like Trivium and Exodus can do, and if you’re a longtime fan of Testament you’ll go crazy with the last part of the song for sure.

4armSounding like the good times of Metallica mixed with the latest works by Trivium (and 4ARM’s own personality, of course), Lights Out presents great lyrics once again (“It’s in the darkest times / We reveal who we are / Those that can endure / And live beyond the scar / Scars are but a darkness of the soul / Revelation of might, silent control”), and it’s amazing how in just seven minutes they were capable of fusing three or four different “songs” in a very progressive and melodic way. In the next song, In Living Decay, they come blasting a powerful blend of 80’s Thrash Metal with modern extreme music right in our faces. I can imagine the smile on Michael’s and Evan’s faces while playing this song, and in the case of us metal fans, the question is: how not to get into the mosh pit with this song?

Now try to imagine if Dream Theater were a Thrash Metal band. Well, the song Ignitor would probably be the result in your mind. It’s nonstop violence with a strong melody and guitar solos tailored for any guitarist in the world to admire, with highlights to the vocals by Markus for giving genuine life to the lyrics. Last but not least, if 4ARM started the album on a high note, why not closing it with another brilliant tune, right? And for that they chose the title-track, Survivalist, the longest and most introspective of all tracks. This is a stunning semi-ballad where the music follows its sorrowful lyrics flawlessly (“And so it’s come to this / As the days cease to exist / Life in decline / Stare at the abyss / Count down the days yet still insist / There’s always time”), with the final guitar solo by Evan being so awesome it really makes me feel sad the album is over.

I’m not only going to say Survivalist is one of the best albums of 2015 so far,  but that its level of professionalism is absolutely unbelievable for a 100% independent band. How come 4ARM do not have a record label yet playing this first-class metal music? Anyway, you can give them a shout at their official Facebook page, and also purchase Survivalist on iTunes or on their BandCamp page. I really don’t know how we all survived until today without this album on our hands, but that’s how life is. At least we have it now to be listened over and over again, which reminds me what I’m going to do next.

Best moments of the album: Eyes of the Slain, Poisoned Mind and Survivalist.

Worst moments of the album: Honestly, there’s absolutely nothing bad or weak on this album.

Released in 2015 Independent

Track listing
1. Eyes of the Slain 7:30
2. Fragment of a Dream 4:47
3. Poisoned Mind 5:11
4. Poverty of Flesh 7:37
5. Lights Out 6:59
6. In Living Decay 4:45
7. Ignitor 5:22
8. Survivalist 8:31

Band members
Markus Johansson – vocals, guitars
Evan K – lead guitars
Andy Hinterreiter – bass
Michael Vafiotis – drums

Album Review – Meridius / Meridius EP (2015)

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Get ready for war with this rising and upfront Canadian Thrash Metal army.

Rating5

meridius-cover-small2Named after Russell Crowe`s iconic character Maximus Decimus Meridius from the Academy Award-winning epic movie Gladiator, Canadian Thrash/Groove Metal band Meridius is here to provide us headbangers a short and extremely energetic Thrash Metal assault with their debut self-titled EP, Meridius, which will please all fans of veterans the likes of Slayer, Exodus and Pantera. And just like General Maximus, this five-piece army won’t stop until the last body drops to the sound of their cutthroat music.

Hailing from Vancouver, British Columbia and singing about inevitable (but always fresh) topics such as death, torture, war and violence, Meridius are not aiming at revolutionizing Thrash Metal. What those guys really want is pretty simple and straightforward: to entertain all thrash metallers in the world with huge doses of dark humor and high-quality music, and let me tell you that based on what is available in Meridius they have more than what it takes to succeed. Who doesn’t enjoy some honest and violent Thrash Metal, eh!?

The first track in Meridius is also my favorite one, Speed Kills, where the 100% Slayer-ish riffs by guitarists Kieran Marquis and Sam Buchanan support the song’s dense and heavy musicality. It’s ruthless music with lots of groove, sounding like a “tribute” to contemporary North American Thrash Metal, especially the vocals by frontman Eric Willmott which are more aggressive and modern than usual just like what Randy Blythe (Lamb of God) and Rob Dukes (Exodus, Generation Kill) usually do. Moreover, when the song reaches its guitar solo, it gets closer to the music by Pantera, which is always a good thing.

meridius-press-photo-hailey-statlerConquer The Throne, with its riffs and drums inspired by Swedish Melodic Death Metal and Speed Metal, is another aggressive metal attack with more melodic vocals, showcasing lyrics as violent as the music and a very catchy chorus, followed by the third and last track of the EP, Walk The Plank, which goes back to the musicality of Bay Area Thrash. The song is not at the speed of light, but it’s very groovy and truly heavy with the addition of even some clean vocals. The neck-breaking riff in the middle of the song is perfect for lovers of slow but gigantic headbanging, and the second half of it is an exhibit of the Heavy Metal skills of all band members, with a melancholic acoustic ending that was probably put there on purpose for the listener to slow down after so much violence.

It’s particularly important to acknowledge the high-end production of the entire EP, and if the band’s first full-length album, which is already being crafted and should be available in the next few months, sounds as professional as any of the three tracks from the EP, diehard thrash metallers from any nationality will soon turn their eyes and ears to Canada without a shadow of a doubt. While Meridius are writing new material and getting ready to tour Canada, go check their music at their official BandCamp page and also on SoundCloud, and get ready for war with this 101 proof Canadian Thrash Metal band.

Best moments of the album: Speed Kills.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Speed Kills 3:42
2. Conquer The Throne 4:17
3. Walk The Plank 5:27

Band members
Eric Willmott – vocals
Kieran Marquis – lead guitar
Sam Buchanan – rhythm guitar
Peter Reimann – bass guitar
Nolan Olson – drums

Album Review – Autere / Amal’l (2014)

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Melodic and professional metal music directly from Finland to inspire you for some good headbanging and mosh pits.

Rating5

Autere_-_Amall_coverAfter 12 years of existence, including a few demos, one EP, some significant lineup changes and about 100 live performances, Finnish Melodic Death/Groove Metal band Autere is finally releasing their first full-length album, entitled Amal’l, a very modern metal album that was definitely worth the entire wait, especially if you are a fan of the heavy riffs and huge doses of melody and energy found in Melodic Death Metal.

As you will notice while listening to this album, this five-piece metal band from Turku, Finland already has some considerable experience in the world of heavy music, with each member being part of other bands such as Trespassenger, Damnesty, Black Sleep and Jacks Over Kings. Add to this strong music background a very professional production and you’ll see why Amal’l sounds so solid compared to the debut albums from many other metal bands.

With vocals à la Pantera (“BUUURRRN!”), the headbanging tune Burn opens the album as the band’s “business card”, being so heavy even its melodic but not too mellow clean vocals keep up with the song’s ferocity, while in the more rhythmic and intense Circle Of Kinetic Damage, with its technical riffs and strong chorus, the influence by Arch Enemy and other Swedish Melodic Death Metal bands is noticeable. Besides, songs like this one show us why the band has been playing live concerts together for so long, as it has a great level of energy to entertain most types of metalheads.

autere_promo1The more modern Redeemers gets closer to American Metalcore, with its harsh and clean vocals making an interesting combination full of harmony, while Lines visibly focuses on its riffs as the base of the entire song, with its harsh vocals and nice guitar solo at the end intensifying the overall result. In the following track, Horizon, Autere get back to a Pantera-ish sonority, with highlights to its breaks and melody and to drummer Tatu Turunen for being so precise with his drum set.

Carbon showcases a faster and more violent side of the band, sounding even more “Americanized” but without losing that harmonious European punch, with its chorus being really catchy and entertaining, while in Bloodlands the band’s headbanging machine keeps working at full power, with guitarists Joona Alamäki and Petri Huhtala kicking ass with their riffs. And there are still two more songs to go: Veils Of Faith keeps the momentum going with its nice flow accompanied by the vocal lines by Anssi Rissa, ending in a very strong way; and Allies, slower than all other songs and with a heavy focus on its main riff, gets a little tiring after two minutes, albeit not being a boring song at all.

In summary, Amal’l, which can be purchased at the online Inverse Store, is a straightforward album directly from the land of ice and snow that will satisfy your craving for melodic metal music, and will surely inspire you for some good headbanging and mosh pits.

Best moments of the album: Circle Of Kinetic Damage, Horizon and Carbon.

Worst moments of the album: Lines and Allies.

Released in 2014 Inverse Records

Track listing
1. Burn 3:26
2. Circle Of Kinetic Damage 4:15
3. Redeemers 3:41
4. Lines 3:44
5. Horizon 4:20
6. Carbon 3:43
7. Bloodlands 3:24
8. Veils Of Faith 3:03
9. Allies 4:18

Band members
Anssi Rissa – vocals
Joona Alamäki – guitars
Petri Huhtala – guitars
Markus Virtanen – bass
Tatu Turunen – drums

Album Review – No Sin Evades His Gaze / Age Of Sedation (2014)

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These young British guys and their sharp instruments keep the fire of heavy music alive with huge doses of professionalism, brutality and progressiveness.

Rating4

Album Art - 1500 x 1500Like French chemist Antoine Lavoisier said once with his law of conservation of mass, “Nothing is lost, nothing is created, everything is transformed.” That can be said about the music by Metalcore/Groove Metal band No Sin Evades His Gaze who, influenced by bands such as Pantera, Lamb Of God and Machine Head, blended elements from Metalcore, Death Metal and Groove Metal in a very professional way, sounding very contemporary and, above all, very technical, melodic and progressive.

It’s amazing how such young guys, all in their early or mid-twenties (and some not even in their twenties yet), were capable of crafting 100% cohesive and honest heavy music like if they have been together on the road for years in a row. This new five-piece metal band, founded in 2013 by vocalist James Denton and with members hailing from London, Blackpool and Scotland in the UK, has just released their debut album, Age Of Sedation, and let me tell you it’s an awesome mix of brutality and melody perfect for fans of modern metal music.

Right after the short but strong intro A Crack In The Looking Glass, where it’s noticeable the band is composed by young members (only young people can write, say or sing words such as “They’re gonna call you weird… They’re gonna call you eccentric…”), we already have one of the top moments of the album, the title-track Age Of Sedation.  It’s polished and professional extreme metal, with its guitar lines conducting the song enhanced by its heavy drumming and all background effects, and of course the excellent guttural vocals by James. The following song, Motionless In Obedience, is a very good choice for fans of extreme music with an apocalyptic touch, getting very progressive halfway through it due to its technical instrumental, and providing the listener the first dosage of clean vocals by drummer Theo Harvey.

Filth is a much heavier tune than its predecessors, perfect for headbanging, with highlights to the great job done by both guitarists Kevin Pearson and Dan Thornton and to the Industrial Metal elements added to the song, similar to what Fear Factory usually do in their music, followed by the nice Metalcore vibe in Roll Up The Royalty, where its very cohesive instrumental gives it a truly badass atmosphere. Another one of my favorite moments in Age Of Sedation is the violent and apocalyptic Debris, with Theo smashing his drums while Matthew “Moat” Lowe shows no mercy for his bass (and you can actually listen to each note from it), while The Cycle Resets focuses on a more contemporary American Metalcore blended with Industrial Metal, with highlights to the awesome vocal performance by James and its totally melodic and catchy riffs.

No Sin Evades His Gaze Promo photo 2014The last part of the album begins with Biometric Alchemy, which could be portrayed as a darker version of what Slipknot do sometimes, mainly due to its deep guttural vocals, followed by The Guillotine Blade: as sharp as a real guillotine blade, the band offers us more atmospheric chaos full of solid riffs, rhythmic breaks and a melancholic ending. And to close the album the band chose their longest and most progressive song, Affinity, with elements from Metalcore, Melodic Death Metal and even Nu Metal, sounding pretty much like three or four songs in one for the delight of fans of complex heavy music.

As aforementioned, the excellent Age Of Sedation, which is available at the No Sin Evades His Gaze’s official BandCamp page, Amazon, iTunes and many other locations, might not be 100% original (what is today, anyway?), but it’s as fresh and creative as possible, thanks to an awesome job done by all band members with their refined techniques. Let’s say that they’re just adapting what Lavoisier discovered in a distant past, but instead of “mass” they’re supporting the conservation of good heavy music.

Best moments of the album: Age Of Sedation, Filth and Debris.

Worst moments of the album: Biometric Alchemy.

Released in 2014 Independent

Track listing
1. A Crack In The Looking Glass 0:51
2. Age Of Sedation 2:49
3. Motionless In Obedience 3:39
4. Filth 4:06
5. Roll Up The Royalty 3:50
6. Debris 2:54
7. The Cycle Resets 3:52
8. Biometric Alchemy 4:38
9. The Guillotine Blade 3:40
10. Affinity 6:00

Band members
James Denton – vocals
Kevin Pearson – guitars
Dan Thornton – guitars
Matthew “Moat” Lowe – bass
Theo Harvey – drums, clean vocals

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.