One of the most influential bands in the history of underground French Metalcore brings forth four striking new songs, blending the best of Heavy Metal and Hardcore in a fresh, vibrant and honest way.
Delivering a huge amount of energy, power and passion for heavy music to their fans since 1993, always exploring important topics such as the defense of the animal rights, vegetarianism, ecology and the denunciation of the overconsumption of mass, French Metalcore act Primal Age marked the 90’s by being among the first European bands to mix Heavy Metal and Hardcore into their music, gaining a lot of positive feedback from fans of both styles. That amazing reaction from the audience opened the doors for the band to spread their music globally, sharing the stage with renowned acts like Napalm Death, Caliban, Madball, Hatebreed and Agnostic Front, as well as playing many festivals such as Free Edge Fest, Hellfest and Sonisphere and performing in distant lands like Brazil and Japan through the years.
Hailing from Évreux, a commune in Haute Normandie in northern France, Primal Age released their debut EP The Light to Purify in 1999, followed by the full-length albums A Hell Romance in 2007 and The Gearwheels of Time in 2010, while the year of 2014 saw the birth of a split album with French Metalcore band Absone named My Legacy / Eternal Struggle – The Best of 17 Years XVX 90’s Metalcore (And Still Going Strong). Now in 2017, they’re back in full force with a brand new EP titled A Silent Wound, featuring a stylish artwork by Visual Injuries and four original songs that perfectly represent their core essence and their undisputed allegiance to classic European Metalcore.
The opening track, nicely entitled The Whistleblowers vs World Health Organization, is a frantic Hardcore chant boosted by hints of Death and Thrash Metal (and therefore an amazing choice for slamming into the pit) where drummer Mehdi Abou is simply insane behind his drums, while the sick growls by lead singer Didier are in total sync with the demonic strings by Benoit, Florian and Dimitri. Following that high-octane start, we have the title-track A Silent Wound, featuring Felipe Chehuan from Brazilian Deathcore band Confronto, another Punk Rock and Thrash Metal onslaught flawlessly blasted by Primal Age. Furthermore, both guitars by Benoit and Florian sound very tuneful and melodic, strengthening the song’s bestial vibe even more, which I believe will cause some “desired” body injuries and bruises to their fans during their live concerts.
Can the excellent Counterfeiters of the Science be labeled as “Tribal Metalcore”? It’s a fuckin’ furious and ruthless composition, in special the harsh and aggressive growls by Didier, with its unstoppable and vicious sounding being the epitome of the music by such distinct act. And featuring singers Julien Truchan (Benighted) and Koba (Loyal To The Grave), the remarkable Slayer medley named To Jeff is a beautiful tribute to the one and only Jeff Hanneman (R.I.P.). You have to listen to it to feel its potency, but as a quick summary of what you’ll find in the music (or I should say a “spoiler”), it starts with a few nice words from Jeff himself, followed by the band’s excellent versions for parts of the all-time classics “South of Heaven”, “Dead Skin Mask” and “Raining Blood”, ending with a good chunk of “Angel of Death” and back to a “Raining Blood” finale. In my humble opinion, this is a superb homage to Jeff and there’s no way you can stay indifferent to its energy and rhythm.
This superb EP by Primal Age, which can be streamed in its entirety HERE, is on sale at several locations such as the band’s Big Cartel as a regular CD version or as a special red vinyl collector edition (limited to 100 copies only); at the Deadlight Entertainment’s BandCamp or webstore; at the Bound By Modern Age Records’ BandCamp or webstore; or on Amazon. After listening to A Silent Wound it’s easy to understand how Primal Age, who can be contacted through their Facebook page and whose music can be appreciated at their YouTube channel and ReverbNation, are still alive and kicking after almost 25 years playing underground heavy music, without selling out to the mass media. This French quintet definitely knows how to bring the best of Heavy Metal and Hardcore together in their music, always sounding fresh, vibrant, honest and loyal to their foundations. Add to that their undeniable talent with their instruments, and there you have the recipe for at least another 25 years blasting awesome music to their fans and to anyone who enjoys tons of heaviness with a good melody behind.
Best moments of the album: The Whistleblowers vs World Health Organization and To Jeff.
Worst moments of the album: None.
Released in 2017 Deadlight Entertainment
Track listing 1. The Whistleblowers vs World Health Organization 3:12
2. A Silent Wound (feat. Felipe Chehuan) 3:11
3. Counterfeiters of the Science 3:35
4. To Jeff (feat. Julien Truchan & Koba) 4:20
Band members Didier – vocals
Benoit – guitars
Florian – guitars
Dimitri – bass
Mehdi Abou – drums
Guest musicians Felipe Chehuan – additional vocals on “A Silent Wound”
Julien Truchan – additional vocals on “To Jeff”
Koba – additional vocals on “To Jeff”
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A sea of complexity and groove thoroughly presented by an auspicious French quintet that definitely knows how to craft high-quality Djent and Metalcore.
The subgenre of heavy music known as Djent, a development of progressive metal named for an onomatopoeia for the distinctive distorted, low-pitch guitar sound first employed by Swedish icons Meshuggah, with bands like After The Burial, Sikth, Animals As Leaders and Born Of Osiris becoming some of its biggest exponents, has been also represented worldwide since 2013 by a dexterous quintet hailing from the charming city of Bordeaux, France named Ashes To Fire. Fans of Metalcore, Djent, Hardcore and Post-Hardcore will have a great time listening to the music by these French metallers, in special the six potent compositions from their brand new EP entitled Still Waters.
Featuring members of local French bands such as Hate To Eleven, Defeat The Foe and Heaven Can Wait, Ashes To Fire offer the listener a very professional and punchy fusion of all their metal inspirations. The artwork in Still Waters, designed by French artist Serge Cleoron, features an ocean that represents the harmony among all band members while the octopus and its tentacles depict some of the band’s main influences in music like August Burns Red, Thy Art Is Murder and Born Of Osiris, among others, continuing the musical path initiated with their 2014 self-titled demo and their 2015 debut EP Karmalogy. It doesn’t matter if you’re a longtime fan of Djent or not, you’ll certainly sense elements from all those bands in Still Waters, and will probably start banging your head to Ashes To Fire’s powerful compositions without even noticing.
Modern sounds together with heavy guitars in the EP’s Intro kick things off in a thunderous way, before guitarists Nico and Dylan lead the Metalcore massacre Real Life, with lead singer Yas growling like there’s no tomorrow. In addition, the song gets less violent and more melodic at times, keeping the sonority always fresh in an awesome display of what this French quintet is capable of. The violence of Hardcore turns Dad And Mum into the most electrifying and complete track of the EP, where once again again Yas demonstrates all his vocal potency while Corekie and William generate a true storm of metal music with their respective rumbly, noise bass and dense beats.
Bringing elements from Melodic Death Metal the likes of In Flames mixed with the modern American Metalcore from August Burns Red, To Disappear displays a flawless sync between the heavy riffs by Nico and Dylan and the roaring bass by Corekie, whereas in Roots To Sheet, the sound of guitars grows and is complemented by bass and drums in another solid exhibition of Djent and Metalcore by this awesome band. Moreover, a constant, heavy ambience keeps the music at a truly dark level perfect for Yas to fire his distressed harsh vocals. Finally, a sinister intro ignites the last track in Still Waters, titled Sara, being sharply joined by the intricate bass wallops by Corekie, with Nico delivering his solid guitar solos in a sea of complexity and groove that goes on until the song’s abrupt and effective ending.
In summary, the excellent Still Waters, available at Ashes To Fire’s BandCamp page or at M.U.S.I.C. Records’ webstore, is definitely your go-to album for contemporary high-quality Djent and Metalcore, and if you want to explore the already mentioned groovy sea of heavy music created by those French metallers simply visit their Facebook page and YouTube channel, consequently showing your support and appreciation for a music style that keeps reinventing itself, proudly carrying the flag of modern metal music all over the world.
Best moments of the album: Dad And Mum and To Disappear.
Worst moments of the album: None.
Released in 2016 M.U.S.I.C. Records
Track listing 1. Intro 1:11
2. Real Life 2:45
3. Dad And Mum 4:25
4. To Disappear 4:28
5. Roots To Sheet 4:18
6. Sara 5:04
Band members Yas – vocals
Nico – lead guitar
Dylan – rhythm guitar
Corekie – bass
William – drums
Mixing several influences and musical styles from Alternative Rock to Post-Hardcore, this up-and-coming French quintet might be exactly what you’re looking for in modern heavy music.
Mixing several influences and musical styles, French Alternative Rock/Metal act Ways. might be exactly what you’re looking for in alternative music, offering a wide variety of genres in their compositions that will please fans of heavier groups such as Deftones, Marilyn Manson and Killswitch Engage, to radio-friendly bands like Foo Fighters. And that harmonious but still fierce fusion of styles can be easily witnessed in their debut EP entitled Watching From Afar, a six-track album that nicely summarizes what Ways. are capable of, their main influences and their goals with their music.
Formed in 2013 in Paris, France, this talented quintet brings forward dynamic and melodic music displaying elements from Alternative Rock, Heavy Metal and Post-Hardcore, among others, always keeping their musicality fresh and vibrant throughout the almost 20 minutes in Watching From Afar. You’ll be positively surprised by the band due to all their sudden tempo changes and variations, going from harsh and desperate screams to gentle vocals and smooth guitar sounds. Featuring a sexy artwork by French photographer Sebastien Bessac, Watching From Afar can entertain you at a pub, at home, in your car or anywhere else good music is required.
In the opening track, titled My Blue Stain, a melodic beginning quickly turns into a blend of Metalcore and Alternative Metal, with lead singer Clément smoothly transitioning from harsh screams to clean vocals. Furthermore, it’s easy to notice influences from Deftones and In Flames, among other bands, in all instruments, which is also the case in As A Duty, showcasing a lighter side of the band with Bruno and Nico doing a great job on guitars, firing gentle lines and heavier riffs in sync with the vocals by Clément. Overflowing anguish and melancholy, this nice composition displays hints of Alternative Rock (in special during the song’s calm passages) that add an extra flavor to the overall result. And in Misty Hope, despite starting in a calm and relaxing way, vocal lines keep fierce and deranged, being recommended for fans of Foo Fighters and Deftones in pursuit of a higher level of aggressiveness in music. In addition to that, drummer Tony leads the song’s pace with his rhythmic beats, increasing its effectiveness and appeal for the delight of the listener.
The title-track Watching From Afar is an instrumental track that’s more progressive and introspective than everything else in the album (and also the shortest of all songs), a nice display of dexterity by all band members leading up to the melancholic tune Something To Say…, where the groovy and smooth lines by session bassist Thomas Houche, together with the atmospheric riffs by Bruno and Nico, provide all the support for another passionate performance by Clément on vocals. Watching From Afar closes with Twenty First Sectuary, the heaviest and in my opinion the best composition of the album, getting closer to Melodic Death Metal without losing the harmony of Metalcore. Not only all guitar lines by Bruno and Nico sound amazing in this chant, but Tony also pounds his drums harder than in any other song of the album, translating into more electricity and consequently accrediting it to be one of the best options for the band’s live performances.
You can get more details on the music and career by Ways. by visiting their Facebook page, YouTube channel and Instagram, and if you want to purchase Watching From Afar, simply go to their BandCamp page for a preview of the album and to get a physical copy of it, or you can also get it on iTunes, supporting not only Ways. but the entire heavy music independent scene. As previously mentioned, Ways. can offer you a wide range of heavy, classic and soft rock in their compositions, making your day better with their pleasant musicality and showing you that Watching From Afar is just the beginning and a nice sample of what’s coming next for those talented French musicians.
Best moments of the album: My Blue Stain and Twenty First Sectuary.
Worst moments of the album: None.
Released in 2016 Independent
Track listing 1. My Blue Stain 3:17
2. As A Duty 4:48
3. Misty Hope 3:17
4. Watching From Afar 2:13
5. Something To Say… 3:11
6. Twenty First Sectuary 3:39
Band members Clément – vocals
Bruno – guitar
Nico – guitar
Elo – bass
Tony – drums
An average album by a band that has the potential to offer a lot more than this, full of highs and lows and quite confusing at times.
I might be absolutely wrong in what I’m about to say and many of you won’t probably agree with me but, after the remarkable success achieved by the fantastic Eye of Providence last year, I believe Canadian Melodic Death Metal/Metalcore band The Agonist rushed things a bit in the release of Five, their fifth installment and by far the album containing some of the weakest tracks ever recorded by this iconic Montreal-based band. That doesn’t mean there aren’t good moments in Five, but the album as a whole lacks more creativity and punch, being full of highs and lows that end up making listening to it quite confusing at times.
Featuring an eccentric artwork by Brazilian artist Gustavo Sazes, and with all song names beginning with “THE” (in case you’re a person obsessed with minor details), Five doesn’t sound as fresh and inspiring as their previous albums, feeling at times as if they were “forced” by some contractual clause to release a new album in 2016, which kind of explains why you’ll find amazing compositions like “The Anchor and the Sail” mixed with forgettable songs such as “The Man Who Fell to Earth”. For instance, the album is unimaginatively called Five, a pedestrian name not even close to the beauty of Lullabies for the Dormant Mind or Eye of Providence. However, if there’s one thing that’s absolutely awesome from start to finish is the performance by the stunning blonde banshee Vicky Psarakis, who saved several parts of the album from being a disaster.
Despite its promising ominous intro, The Moment doesn’t live up to its hype, quickly turning into generic Melodic Metal with lazy guitars and drumming. As aforementioned, although Vicky continues to impress on vocals as she did in Eye of Providence (and she had a lot of fun recording the official video for this song which you can see at the end of this review, by the way), this is certainly one of the most unexciting songs the band has ever written. The Chain is a billion times faster and heavier, just the way it’s supposed to be, with Danny Marino and Pascal “Paco” Jobin doing an awesome job on guitars, and despite its backing vocals sounding a bit out of place the overall result is pretty good, with highlights to its interesting lyrics (“Can I have the attention of the class? / Open up your text / The city of Seven Hills / Another illustration of the autophagy / Put down your fiddle, Lady Liberty / And take a good long look”).
My favorite of all tracks, The Anchor and The Sail, is the good old The Agonist we got used to but with a more contemporary touch, perfectly representing the evolution in music every artist always search for. Its rhythmic and potent riffs and beats, together with Vicky kicking fuckin’ ass on both clean vocals and harsh screams (especially during the song’s enraged chorus), accredit this to become one of their biggest hits in a near future as soon as fans have time to absorb all the music in Five properly, which is not the case in The Game, another song with a promising intro that unfortunately fades into genericism, feeling more like filler than like an honest composition by the band. Then Vicky and drummer Simon McKay lead the musicality in the solid The Ocean through their beautiful vocal lines and harmonious and powerful beats, displaying the right amount of classic The Agonist blended with some interesting experimentations that could easily become a radio hit; followed by The Hunt, which albeit not a masterpiece in terms of creativity, at least it maintains a good flow of energy with Vicky once again stealing the show. And if you say I’m being too picky and that I only enjoy their old classics, let me tell you one of my favorite compositions in Five hands down is the devilish Blues-inspired semi-acoustic ballad The Raven Eyes, completely different from anything the band has ever done before and something I would love to see The Agonist replicating live. The stunning performance by Vicky, declaiming the song’s venomous lyrics embraced by a deliciously dark atmosphere and complemented by smooth piano notes and acoustic guitar lines, is the epitome of awesomeness.
I have absolutely no idea why the Nightwish-like instrumental track The Wake was included in Five. It’s not a bad composition, not at all, but it doesn’t add anything remarkable to the album except for almost three minutes to its total duration. I’m not even sure if I can consider this one of the worst songs of the album so out of place it is. Anyway, The Resurrection, one of the heaviest of all songs in Five, brings forward another promising start and excellent lyrics (“Take these coins off my eyes / I’m not ready to be put down / If only you could hear the screaming in my mind / Take these coins off my eyes”), with my only complaint being that it could have kept the same wrath from its first few seconds during the whole song. The Villain follows a similar pattern, losing a little of its punch halfway through it, but nothing that harms its overall electricity. Moreover, the amazing low-tuned sounds by bassist Chris Kells and the furious drumming by Simon provide all the necessary support for Vicky to keep firing her potent growls.
The last part of the album is just downhill in terms of quality and adrenaline, starting with The Pursuit of Emptiness, which is not heavy enough to be Melodic Death Metal nor light enough to be Hard Rock, getting lost in trying to incorporate too many different genres at the same time; whereas the worst of all songs, The Man Who Fell to Earth, would have been a complete disaster if it wasn’t for Vicky’s passionate vocals. Exhibiting the blandest instrumental parts of all tracks, you’ll forget this song exists as soon as it’s over. And the regular version of the album ends with a not-so-bad composition entitled The Trial, nothing truly remarkable but at least it adds some fire to an album below my expectations. And if you grab the limited edition of Five you’ll be treated to their cover version for Hozier’s Take Me to Church, a solid tribute to a contemporary classic, albeit I still prefer Vicky’s old cover songs available on her YouTube channel like her sensational version for “Stricken” by Disturbed.
One day Five might grow on me, but so far after tons of listens at different times and places I still don’t feel this is the best The Agonist could have done as the next step in their amazing career and I don’t believe what I wrote in this review will change much. You can listen to a preview of each track HERE and take your own conclusions (or you can obviously buy the full album), and although I’ll add a few of the songs from Five to my playlist together with all their previous classics, I think it will be hard for me to go and pick Five in its entirety to be part of the soundtrack for my commute, at the gym, at home or anywhere else. I don’t believe the band sold out like I read many people saying in the past week, but the fact that they released a new album when the previous one was still very fresh and vibrant doesn’t make a lot of sense. Well, let’s see what they will offer us next, and as long as it’s not called “Six” it will already be an advancement compared to Five.
Best moments of the album: The Anchor and the Sail, The Ocean and The Raven Eyes.
Worst moments of the album:The Moment, The Pursuit of Emptiness and The Man Who Fell to Earth.
Released in 2016 Napalm Records
Track listing
1. The Moment 4:14
2. The Chain 3:12
3. The Anchor and the Sail 3:49
4. The Game 2:50
5. The Ocean 4:27
6. The Hunt 3:35
7. The Raven Eyes 5:34
8. The Wake 2:44
9. The Resurrection 5:22
10. The Villain 5:00
11. The Pursuit of Emptiness 4:03
12. The Man Who Fell to Earth 3:53
13. The Trial 4:33
Limited Edition Digipack bonus tracks 14. Take Me to Church (Hozier cover) 5:52
15. The Raven Eyes (acoustic version) 5:36
Band members Vicky Psarakis – vocals
Danny Marino – guitar
Pascal “Paco” Jobin – guitar
Chris Kells – bass
Simon McKay – drums
Ladies and Gentlemen, children of all ages… Step right up and get your tickets to the greatest show on earth!
Love them or hate them, we all must admit that the two female metallers chosen to celebrate the third anniversary of The Headbanging Moose have a strong influence on contemporary Heavy Metal due to their unique (and aggressive) attitude, which obviously includes their sexy looks and fiery and chaotic music. They deal with their sexuality more naturally than we prepare a simple orange juice, and although some people might consider their work futile or even too obscene, let’s not forget that heavy music is above all things a form of art where artists can freely express their thoughts, ideals and beliefs through their compositions and, in many cases like for example in Black Metal, through their image. Besides, their music is a billion times better than anything Lady Gaga does, a woman who calls herself a true metal fan but in reality keeps playing second-class meaningless pop stuff. With that said, let’s raise our horns to frontwomen Heidi Shepherd and Carla Harvey, the dynamic duo responsible for the amusing blend of violence and rebelliousness bred by American Metalcore/Groove Metal band Butcher Babies.
Before we talk about each “butcher baby” in more details, let me provide you a short and sweet overview of this Alternative Metal band from Los Angeles, California in case you have never heard of them in your life. Formed in 2010, Butcher Babies probably have one of the most solid lineups in the history of heavy music despite being just a few years old. Apart from Heidi and Carla, the band is also made up by guitarist Henry Flury, bassist Jason Klein and drummer Chris Warner, all still playing together since the band’s inception and, based on how healthy their relationship is, that’s the way things are going to be for many years to come. The name of the band came from the song Butcher Baby by American Punk Rock band Plasmatics, spearheaded by the iconic singer, songwriter and actress Wendy O. Williams. Both Heidi and Carla acknowledge how important Wendy O. Williams was (and still is) for the increasing acceptance of women in heavy music, which is one of the reasons why they wear such eccentric attire during their live performances including wearing nothing but black tape over their nipples (albeit they’ve ditched it in recent years).
Enough said already, now it’s all about the girls. Let’s begin with the sometimes blonde, sometimes red-headed hurricane Heidi Shepherd, the woman accountable for the high-pitched screams and growls for Butcher Babies. Born on April 17, 1985 in Utah, United States, Heidi is more than “just” a metal singer, being also a radio DJ, actress and casting director best known for the 2008 thriller Animals and the TV series MANswers, as well as minor parts and uncredited appearances in different shows such as My Name Is Earl, Ghots Whisperer and CSI: NY.
Heidi, who by the way is the oldest of 6 kids, grew up in Provo, Utah, the third largest city in the state and located around 43 miles south of Salt Lake City, where she attended Provo High School, graduating in 2003. Still in high school, believe it or not Heidi was an accomplished track and field athlete, even traveling to Russia to participate in the Junior Olympics. She also graduated from Southern Utah University, where once again she showcased all her athleticism participating in competitions such as high jump and long jump. Also, as a girl raised in the Mormon religion, Heidi has a very interesting view of the concept of Heaven and Hell, stating those are things the human being made up to make ourselves feel comfortable about the afterlife, something to give people a purpose and life goals.
In regards to her passion for music and how it helped her become a better person, our unrestrained vocalist said music was basically the only thing she could relate to in her childhood, having as her personal heroes distinct names such as Slipknot, Wendy O. Williams, Gwen Stefani and Joan Jett, most of them being females that defy the male dominance in music as you can see. However, it’s Slipknot, a top to bottom male band, who had the strongest influence on her vocal style and stage performance, saying when she saw a picture of them for the first time (she was around 12 or 13 only) it really scared her but intrigued her at the same time. Once a girl who developed an intense fear of the dark, Heidi learned to embrace fear and use it in her creative process through the years, something we can definitely connect to what Slipknot aim with their unique approach.
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If you think she’s a party girl who doesn’t sleep at all and drinks every alcoholic beverage in sight, you’re absolutely wrong. Well, of course she always has her share of fun, but Heidi mentioned already in different interviews that if she doesn’t get enough sleep every night her live performances suffer a truly negative impact. On top of that, Heidi said that despite loving whiskey she can’t drink it on the road anymore, as the effect of the alcohol hurts her vocal chords, so she saves it for when she gets back home. If you’re a singer I’m sure you can relate to that, because you can be tired and drunk and still play a guitar, for example, but the impact alcohol can have on your vocals can be devastating without any doubt.
Lastly, as a lover of horror flicks and a believer of supernatural and paranormal forces, which in my opinion is an excellent source of inspiration for the type of music played by Butcher Babies, Heidi mentioned that among her favorite recent movies we can find titles like the new Evil Dead, V/H/S and V/H/S/2, You’re Next and The Purge, all pretty decent films with interesting storylines, don’t you think? And who knows, maybe it’s time for a slasher movie with a main female character named “Heidi the Butcher”, who not only chops and dismembers her victims, but does that screaming like a maniac while listening to some vicious heavy music. Or maybe it should be a sanguinary duo of Heidi and Carla? Read the rest of this essay and take your own conclusions.
“There’s no reason why girls can’t get up there and rock just as hard as, if not harder than, the boys. And I’m so happy to say that I’m seeing a movement.” – Heidi Shepherd
CARLA HARVEY
Of course Butcher Babies wouldn’t be complete without the charisma of the daredevil vocalist, author and actress Carla Harvey. Born on October 4, 1976 in Detroit, Michigan, United States, Carla is what we can call a very successful “experiment” as she is of Ethiopian, Finnish, Irish and Italian background, and her contribution to Butcher Babies comes in the form of hellish growls deeper than the screams by Heidi, endless energy on stage and some of the weirdest faces you can think of. Put differently, when Carla is performing with the band, she becomes a true female demon like Lilith, for example.
Carla attended Glenn Levey Middle School in Southfield, Michigan, before going to Mercy High School (an all-girl private Catholic school) and Harrison High School, both in Farmington Hills, Michigan. Her first job in Hollywood was as an Entertainment Reporter for the Playboy Channel, also taking part in several movies such as Frankenstein vs. the Creature from Blood Cove (2005), Happy in the Valley (2009) and Dry Run (2010), and other TV shows like Root of All Evil, Sex Chronicles and, just like her partner Heidi, MANswers. In addition, she took a break from the entertainment world to earn a degree in Mortuary Science from Cypress College in California, and worked as an embalmer and funeral director before forming Butcher Babies.
Our raven-haired (with some blue nuances) brawler said she’s been into music since she was a little kid, playing instruments like guitar and bass but always knowing she was born to be a singer. Her first appearance in a band happened when she was around 17 years old, but it wasn’t until Butcher Babies were born that she reached true stardom. Among her main influences, we can find kick-ass names like Slayer and Slipknot, with Slash and Jimi Hendrix being her personal heroes especially due to their roots. As a biracial girl growing in Detroit, seeing musicians that were also of African-American descent playing the music she loved was essential for her to keep pursuing her dreams and overcoming the odds imposed by society on her. Another huge influence on her vocal style and onstage performance in the one and only Phil Anselmo, the iconic frontman from Pantera and Down, who she has admired since she was a kid, highlighting how humble and easy-going he is as a person after finally being able to meet him on the road.
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Heavily influenced by horror movies such as The Texas Chain Saw Massacre, House of 1000 Corpses and The Devil’s Rejects (these two directed by another one of her idols, Rob Zombie), Carla is also passionate about writing, drawing and reading comic books since she was a kid, something that helped her cope with loneliness as an introverted child, and from that fusion of horror flicks, comics and Heavy Metal she became a “comic book mastermind” according to Hustler Magazine. Her first comic book, entitled Butcher Babies (illustrated by Anthony Winn from Deepcut Productions), was released at the San Diego Comic-Con in 2011, followed by her first full-length novel Death and Other Dances in 2014, and more recently the comic series Soul Sucka, the story about an African-American vampire, in 2015. Carla is always drawing “naked girls” and other stuff, and if you’re interested in taking a look at her work you can visit her Big Cartel page.
And finally, just like what was written about Heidi in terms of drinking and partying while on tour, Carla also said drinking lots of water and hot tea is what truly helps keep her vocal chords moist, together with the obvious and necessary amount of sleep per night. However, she mentioned she also enjoys drinking Jägermeister as it coats her throat rather than drying it out. Although I’m a beer guy, I’m an admirer of Jäger too and I understand perfectly what she’s trying to say about the effect of this exquisite German digestif on your throat. If your job requires you to cut off alcohol, all you have to do is improvise and find other alternatives. And it looks like being creative and always trying new stuff doesn’t scare our roaring metal babe at all.
“I wish, some day people stop using the female fronted this, female fronted that, because it always takes the focus away from the band itself, because you know, we are all just Heavy Metal bands, we are all doing the same thing.” – Carla Harvey
Get ready for 21 minutes of brutal and technical Grindcore that will crush your spinal cord mercilessly.
If someone asks you to mention a good one-man or one-woman band in Heavy Metal, the first names that will come to your mind probably play raw and obscure Black Metal. I would say that’s the case in nine out of ten projects, but obviously there are also many excellent multi-instrumentalists generating interesting material in other ramifications of heavy music such as Death and Doom Metal, for example. However, I believe this will be the first time you’ll be facing a one-man army blasting a trenchant fusion of Grindcore and Metalcore, two subgenres of heavy music where you’ll usually find regular bands comprised of at least three members. I’m talking about The Sound That Ends Creation, the indomitable creature generated inside the mind of American musician Chris Dearing in which he plays all of guitar and bass, as well as performing vocals and programming drums.
Formed in early 2016 in the city of Allen, Texas, in the United States, The Sound That Ends Creation blends all main styles found in extreme music, those being Death Metal, Black Metal, Mathcore and even Sludge and Stoner Metal, together with the project’s core essence formed of unrelenting Grindcore. The result of that brutal fusion can be seen in We Are The Burden, the debut album by The Sound That Ends Creation that will crush your spinal cord mercilessly in its 21 minutes of uncompromised devastation. Do not expect any sign of happiness or positivity emanating from the music, but only sheer savagery perfect for slamming into the pit as expected from any good Grindcore band.
Chris comes barking like a rabid dog in the opening track, a two-minute technical Grindcore tune named The Complex, also blasting the first wave of heavy riffs and violent beats in We Are The Burden. Moreover, drums sound amazingly organic despite being programmed, which is also the case in Burn the Trees, Burn the Bark, a diabolical mix of Grindcore and Black Metal, with its guitar lines being as sharp as the Death Metal-inspired growls by Chris. It doesn’t matter if the music gets faster than a bullet or as sluggish and somber as traditional Doom Metal, the entire song kicks fuckin’ ass. And the distorted mind of Chris provides the listener another two-minute havoc overflowing anger and hatred entitled A Cyclical Dawn, with highlights to all its tempo changes, which in my opinion means a lot considering the fact this is a relatively short composition.
The Fires Are Growing trespasses the boundaries of heaviness, almost feeling like pure old school Death Metal at times while also sounding extremely progressive, flowing to a lancinating ending before the most intricate composition of the album, Machinations Of Progress, brings forth chaos and harmony at the same time. Highly recommended for fans of complexity and fury in music the likes of old school Carcass, this is the perfect example of how our lone wolf is capable of sounding like many well-established Technical Death Metal bands even being by himself and having no support from any record label. And how about an atmospheric break titled Interlude before Chris’ onslaught returns? You better take that time off to breathe, because what he delivers in A Hollow Pine Box is simply awesome. Not only guitars are superb (as well as all rhythmic beats and breaks), but there’s also room for hints of Pantera and the low-tuned sonority of Stoner Metal, enhancing the song’s impact on the listener.
If you’re still alive after such level of devastation, there’s still more madness in the form of music for you. Pounding his guitar and bass, Chris offers more high-quality Death Metal and Grindcore in less than two minutes titled Bottom Feeders, followed by The Open Eye, where the high-pitched growling by Chris together with his deeper guttural brings more flavor to the overall result. And closing the album with a beautiful message about how cruel and heartless we can all be, Chris presents the extremely technical A Portrait Of Inhumanity, a brutal Death Metal assault with progressive notes where Chris has another visceral performance on vocals.
After listening to such an inspiring album, I suggest you all go get in touch with Chris and his electrified The Sound That Ends Creation at the project’s Facebook page, Twitter and YouTube channel, and if you love the demolishing sound of raw and technical Grindcore you can purchase We Are The Burden at The Sound That Ends Creation’s BandCamp page. Chris’ 21 minutes of ruthless and virulent music are definitely worth the investment, and by buying the album you will also help this talented artist in perpetrating the awesomeness and energy of the independent scene of extreme music.
Best moments of the album: Burn the Trees, Burn the Bark, The Fires Are Growing and A Hollow Pine Box.
Worst moments of the album: None.
Released in 2016 Independent
Track listing 1. The Complex 2:06
2. Burn the Trees, Burn the Bark 2:18
3. A Cyclical Dawn 2:24
4. The Fires Are Growing 2:08
5. Machinations Of Progress 2:10
6. Interlude 1:13
7. A Hollow Pine Box 2:07
8. Bottom Feeders 1:38
9. The Open Eye 1:59
10. A Portrait Of Inhumanity 3:14
Band members Chris Dearing – vocals, all instruments
Catchy riffs, deranged growls and endless energy in an album that blends Metalcore with tons of other subgenres of heavy music, recommended for the ones in pursuit of the “light in the shadows”.
After ten years alive and kicking, releasing a couple of EP’s and one full-length album, playing alongside renowned artists such as Sepultura, Extrema and Guilty Method, among others, and participating in important European events like the Colonia Sonora Festival in Turin, Italy, it’s time for Italian Metalcore/Groove Metal wolf pack Moth’s Circle Flight to celebrate a decade of existence with the release of their second full-length album, entitled My Entropy, a melodic turmoil of catchy riffs, demented screams and nonstop adrenaline.
Although it’s considerably hard to describe the sounding of Moth’s Circle Flight due to the crazy amalgamation of rhythms and genres added to their musicality, this is the type of band that will please fans of heavy and uncompromised music the likes of Pantera and Trivium, highly recommended for some good jumping, screaming and headbanging. Formed in the city of Parma in 2003, the band only found their actual formation in 2012, hence shaping up their music to what can be found today in My Entropy. In their lyrics, the band wishes to reiterate the leitmotif that has accompanied them in recent years, that being “the constant search for light in the shadows, the frenzied gathering around a flame that we’ll never own, but that keeps us alive and eternal.”
When the Slipknot-inspired intro in Man On The Peak morphs into a brutal fusion of Metalcore and Alternative Metal, all hell breaks loose led by the demented riffs and solos by guitarists Luca “Pellach” Alzapiedi and Francesco “Baldo” Baldi, reminding me of the music by the Butcher Babies with hints of Pantera. An interesting mix of soundings, isn’t it? But that’s just the beginning, as in the neck-breaking tune Ends Of A Shadow we’re treated to the enraged screams by both Gabriele “Gabbo” Rosi and Simone “Pancio” Panciroli, who switch their vocals from the good old times of Phil Anselmo to a frantic version of Axl Rose, and again to what we find in modern Melodic Death Metal, therefore showcasing all their versatility. In addition to that, the song’s awesome chorus will certainly stick to your head for a good amount of time, no doubt about that.
The alternative Raise Your Head, which presents a lunatic atmosphere usually found in modern Americanized music, is a good choice for igniting some serious mosh pits during the band’s live concerts, with Pellach and Baldo continuing to impress on guitars while Fabio “Bersa” Bersani showcases all his passion for Groove Metal behind his drums. Bassist Marco “Satir” Reggiani kicks off the excellent Late Promises with his thunderous lines, quickly evolving to solid Alternative Metal with additional elements taken from Groove Metal and Metalcore where vocals sound like a mix of Phil Anselmo and Daron Malakian (System Of A Down); followed by An Old Chant, a rabid anthem that condenses the musicality by System Of A Down, Butcher Babies, Alice In Chains, Sevendust and tons of other distinct bands, with its riffs and beats being in total sync and, consequently, creating the ideal ambience for some brutal headbanging and moshing.
And there’s more brutality emanating from the music by Moth’s Circle Flight in what’s perhaps the most melodic of all tracks, Write My Name, where Gabbo and Pancio once again burst their lungs out in a violent but tuneful way, providing a welcome break from the sheer madness of all previous songs. Despite not being a bad song, With Love, With Flames never really take off, maybe because it’s too alternative and the band gets a bit lost deciding if they get heavier or groovier (the guitar solo by Pellach is really good though, as well as the drumming by Bersa), but fortunately that “hesitation” doesn’t last long as we have another kick-ass blast of Groove and Alternative Metal entitled Bursting Into Existence, with its clean vocals once again reminding me of Daron Malakian. The song offers the listener a good balance of harsh screams and clean vocals, with its accelerated rhythm and dissonant riffs adding more fuel to the overall result, maintaining the song’s fire burning until its deranged ending. In Madball (maybe a tribute to American Hardcore icons Madball), growls follow the path built by guitar riffs in what gets a bit repetitive halfway through it, before Ray Of Ira comes to close the album on a high note. It’s amazing how the band blended English and Italian in the lyrics and still sounded very organic, especially during the song’s clean vocal parts. Furthermore, the instrumental pieces are beyond precise and effectively support the message sent in both languages. Well, based on how the album ends, I’m pretty sure we’ll see a lot more of Moth’s Circle Flight in a not-so-distant future.
You can go absolutely mental to the music by Moth’s Circle Flight (also known as MCF, if you like acronyms) by visiting their Facebook page and SoundCloud, and grab your copy of My Entropy at the logic(il)logic Records’ webstore, on iTunes or at CD Baby. And if you’re also searching for the “light in the shadows” mentioned by the band, just like a real moth, I suggest you do it while listening to the vigorous Metalcore by this talented Italian sextet as that will definitely cheer you up, even if you never find the desired light.
Best moments of the album: Ends Of A Shadow, An Old Chant and Bursting Into Existence.
Worst moments of the album:With Love, With Flames and Madball.
Released in 2016 logic(il)logic Records/Andromeda Dischi
Track listing 1. Man On The Peak 4:07
2. Ends Of A Shadow 4:11
3. Raise Your Head 4:19
4. Late Promises 5:10
5. An Old Chant 4:42
6. Write My Name 3:50
7. With Love, With Flames 3:14
8. Bursting Into Existence 5:00
9. Madball 4:14
10. Ray Of Ira 3:57
Band members Gabriele “Gabbo” Rosi – vocals
Simone “Pancio” Panciroli – vocals
Luca “Pellach” Alzapiedi – lead guitar
Francesco “Baldo” Baldi – rhythm guitar
Marco “Satir” Reggiani – bass
Fabio “Bersa” Bersani – drums
If you were at the charming The Opera House in Toronto this Saturday, June 11, you were able to witness the future of Canadian Metal in pursuit of a sacred placed among the Gods of Metal at the 2016 edition of Wacken Open Air, which will be held during the first week of August this year. Five amazing bands made in Canada showcased all their skills and passion for heavy music during the final and decisive round of the fourth annual edition of Wacken Metal Battle Canada, but only one of them secured a spot in the most important metal festival in the world. Do you want to know which band was crowned the kings of the night?
This year, guest judges Noel Peters (Inertia Entertainment), Sarah Lutz (Metal Blade Canada), Darryl Hurs (Indie Week), Chris Gonda (PureGrainAudio.com), Tim Henderson (Bravewords.com), Andrew Epstein (Zombitrol Productions) and Glenn Fricker (Spectre Media Group) had the difficult mission to decide who would play at Wacken Open Air this August, but before I get into more details, let me say it’s impressive how well organized Wacken Metal Battle is in Canada, it doesn’t matter the city or the qualifying round. With over 100 independent Canadian metal bands from the cities of Toronto, Hamilton, London, Ottawa, Montreal, Winnipeg, Saskatoon, Regina, Calgary, Edmonton and Vancouver, and after 27 qualifying rounds, 9 semi-finals and the national final this Saturday, all we can say in a huge THANK YOU to everyone involved in this awesome project, with a special thanks to my friend Jon Asher (Asher Media Relations) for letting me be part of this. And now, let’s get ready to rumble!
DistortHead @ The Opera House, Toronto, ON, 06/11/2016
The first group to hit the stage, at around 8pm, was Melodic Death Metal/Metalcore band DistortHead, from Montreal, Quebec, who were obviously the Quebec Final winners this year. With all band members elegantly wearing lumberjack shirts, DistortHead fired a good mix of modern and groovy metal music the likes of The Black Dahlia Murder and Suicide Silence with the more ferocious sound of old school Death Metal, which translated into a solid and unstoppable performance by this talented quintet. Lead singer Phil Ranger led his troop during the entire setlist, demanding some furious circle pits from the fans at the venue and, as any proud Québécois, made good usage of “Bill 101” to teach the audience how to curse in French. If brutal Melodic Death Metal is your cup of tea, go check their BandCamp page, where you can enjoy their 2014 album Invasive Species in its entirety.
Band members Phil Ranger – vocals
Vincent Rousseau – guitar
Alex Guindon – guitar
Felix Bourcier – bass, backing vocals
Max Arseneau – drums
Pyramid Theorem @ The Opera House, Toronto, ON, 06/11/2016
In my opinion, one of the best things in any Wacken Metal Battle round is the variety of sounds you can listen to within a short span of time, getting truly paradoxical at times, but as awesome as usual. That was confirmed when Progressive Hard Rock act Pyramid Theorem began their psychedelic and electrifying performance. Those Torontonians, who were the Ontario Final 2/2 winners, sounded so professional, polished and in sync it’s hard to believe they do not have an agreement with a record label yet. Take a listen at the excellent tunes Outlaw for Good and Drive and you’ll see what I’m talking about. The crowd was excited during the whole show, mainly due to the thrilling performance by the dynamic duo Christian Di Mambro (vocals and bass) Sam Ermellini (guitar and vocals), who didn’t stop interacting with the audience for a single second while at the same time displaying their refined techniques on stage. Some of the guitar solos by Sam were simply outstanding.
Band members Christian Di Mambro – vocals, bass
Sam Ermellini – guitar, vocals
Stephan Di Mambro – synths, guitar, vocals
Vic Dee – drums, percussion
The Mountain Man @ The Opera House, Toronto, ON, 06/11/2016
Fans of the relentless music by icons such as Lamb of God, Whitechapel, Gojira and Pantera definitely had an awesome time during the performance by Vancouver-based five-piece act The Mountain Man, who blasted a nice fusion of Melodic Death Metal and Groove Metal, proving why the band was the B.C. Final winner. The whole festival seemed to be turning into “the night of the frontmen”, with lead singer Parker Lane keeping up with the vocalists from both previous bands with his unique screams and endless energy on stage. We have to give a round of applause to those guys, coming all the way from the other side of the country, paying all expenses from their own pockets, and still having enough strength to kill on stage. If you want to know more about their music, you can listen to their debut EP entitled Bloodlust at their BandCamp page, and if by any chance the band members themselves read this, please send us the EP for a detailed review.
Band members Parker Lane – vocals
Tyson Tambellini – guitar
Jordan Orr – guitar
Tevyn Pacey – bass
Ryan McCreedy – drums
Profaner @ The Opera House, Toronto, ON, 06/11/2016
After a quick break and another cold beer, it was time for Melodic Death/Thrash Metal band Profaner to distill their acid metal music upon the audience. Hailing from the city of Hamilton, around 70km southwest of Toronto, the Ontario 1/2 Final winners didn’t waste time and started kicking ass on stage from the very first notes of the opening song of their setlist. If you visit their BandCamp page, you’ll be able to listen to a few songs they played this Saturday, such as the awesome Marked For Death, and see how good and violent those guys are. Guided by the uncontrollable frontman Anthony “Tooty” Tuttolomondo, Profaner showed everyone at the venue how old school brutal music is done, with the blazing riffs by guitarists Jason Crook and Pat Rogers, together with the boisterous drumming by Craig Piggot, being the recipe for success in heavy music. I loved their music and charisma, and so did the vast majority of the fans at The Opera House. A good sign of the band’s future, don’t you agree?
Band members Anthony “Tooty” Tuttolomondo – vocals
Jason Crook – guitar, backing vocals
Pat Rogers – guitar
Rusty – bass
Craig Piggot – drums
Tales Of The Tomb @ The Opera House, Toronto, ON, 06/11/2016
There was still a lot more to come Saturday night, even with the clock getting closer to (or past) midnight, with the unique Psychological Horror/Death/Murder Metal brutally fired by Edmontonian metallers Tales Of The Tomb, who stood tall as the Prairie Final winner band. With lead singer Connor Adams, guitarist Corey Skerlak and bassist Bryn Herbert growling like possessed beats, Tales of The Tomb crushed the audience with their music inspired by icons such as Dying Fetus and Bloodbath, and the dark and gory vibe of classic slasher films. Those guys unleashed hell upon The Opera House, playing songs from their debut EP named Volume One: Morpras, as you can listen to at their BandCamp page. Nonstop violence is always fun in extreme music, and in the case of Tales Of The Tomb that enjoyment is multiplied by a thousand due to their demonic screeches and bestial riffs. In other words, a highly recommended band for fans of vicious Extreme Metal.
Band members Connor Adams – vocals
Tres Thomas – guitar
Corey Skerlak – guitar, vocals
Bryn Herbert – bass, vocals
John Thomson – drums
Crimson Shadows @ The Opera House, Toronto, ON, 06/11/2016
And before that incredible night of Canadian Metal was over, we were treated to the Epic Death/Power Metal by special guest headliners Crimson Shadows, winners of the first edition of Wacken Metal Battle Canada in 2013, and also crowned the Metal Battle international winners at Wacken Open Air that same year. Well, the epic devastation crafted by these talented Torontonians, mixing the speed and intricacy of Dragonforce and Rhapsody with the vileness and heaviness of Children of Bodom, sounded even more potent on stage, with highlights to the excellent performance of newcomer Paul “Ablaze” Zinay with his harsh screams, and especially Mr. Greg Rounding with his fantastic riffs, solos and clean vocals. If you know nothing about Crimson Shadows, I suggest you take a listen at the high-end battle hymns Rise to Power and Braving the Storm, which were played to perfection during their electrifying concert. I believe that whenever Rise to Power is played, if you do not start singing it together with Crimson Shadows, raising your fists in the air, drinking a pint of beer and getting ready to die in the battlefield, you’re not a honorable warrior.
Band members Paul “Ablaze” Zinay – vocals
Ryan Hofing – guitar
Greg Rounding – guitar, vocals
Alex Snape – bass
Cory Hofing – drums
AND THE WINNER IS…
Profaner – 2016 Wacken Metal Battle Canada Winner
…everyone that attended the event this Saturday, especially the bands and the amazing crew that helped that metal celebration become true! Unfortunately, only one band could win the tournament and head to Wacken Open Air in August, but all five bands were simply amazing and deserve our humble recognition for keeping the fire of Canadian Metal alive. Congratulations to runner-ups DistortHead, who won a bunch of cool stuff from PureGrainAudio.com and Los Cabos Drumsticks that will be very beneficial to their career, and in special to the 2016 Wacken Metal Battle Canada winners PROFANER! YOU GUYS KICK ASS!
As previously mentioned, Crimson Shadows went to Wacken Open Air and won the international battle in 2013, and in 2015 Vesperia (who were there on Saturday to pass the crown to Profaner) re-lived that success by once again bringing the first place from Germany to Canada. Now it’s time for Profaner to show to the craziest metal fans in the entire world who will attend the festival in August how awesome Canadian Metal is. If you want to have a good overview of what happens to all independent bands while at Wacken Open Air, I recommend you watch the movie Wacken 3D – Louder Than Hell, from 2014. But that’s just in case you’re not going to join Profaner in their thrilling quest in Teutonic lands, of course.
How about grabbing a pint, getting drunk and, to the sound of this promising Irish band, picking up a fight at a rowdy pub in Dublin?
If you’re a metalhead living in the Greater Dublin Area, in the Republic of Ireland, or if you’re a tourist visiting Dublin and looking for some good metal music in the city, I highly recommend you take a look at the official Facebook page of Heavy Metal/Hard Rock quartet Devolted and see if they’re playing anywhere in the city while you’re around. This “musical four-piece of reprobates” plays straightforward old school heavy music perfect for engaging in a pub fight, and where else can you find better pubs than in Dublin?
Bounded together in 2010 through their passion for Heavy Metal and beer, Devolted are releasing their second installment now in 2016, the fast-paced and very enjoyable EP entitled Broken Kings. After releasing their debut EP The Curious Case in 2014 and suffering a major lineup change in 2015, Devolted began focusing on more contemporary, sharper and groovier sounds, blending a shitload of styles and genres in their music to the point you have to get properly drunk to be able to list all of them. However, as already mentioned, the final result is far from being messy or untuneful. Quite the contrary, this totally uncompromised band managed to reach a unique musicality that will definitely inspire you to jump up and down with the band and (who knows) throw some good punches around.
The first track of the EP, My Monster, brings forward a rhythmic start with modern and heavy guitar lines, until lead singer and bassist Rafal Smyczynski screams a nice “FUCK!” and the festivities begin. Moreover, Devolted offer an interesting fusion of the aggressiveness by Pantera with Metalcore and Hard Rock during the entire song, with the bridge to the chorus being perfect for enlivening the listener’s experience.
Displaying elements from traditional Heavy Metal, Hardcore and Metalcore, Dogs Of War is another solid composition tailored for setting fire to a Rock N’ Roll party, and you can easily notice how much guitarists Mark O’Reilly and Killian Chellar might love the unparalleled riffs by guitar heroes Dimebag Darrell and Michael Amott. In God Of Light, drummer Dominik Tokarski begins pounding his drums until the whole band joins him in a parade of inebriate vocals, metallic riffs and a pure headbanging rhythm. Hints of Groove and Stoner Metal add an extra flavor to the music, and while Rafal screams the song title, the riffs blasted by Mark and Killian will fill your ears with pure good old Rock N’ Roll.
Last but not least, the title-track Broken Kings begins by displaying an interesting merger of Melodic Death Metal and Hardcore through the excellent job done on guitars as well as on drums. This is undoubtedly the most electrifying tune of the EP where all band members are on beast mode, with highlights to its backing vocals providing the necessary support to Rafal and his Pantera-inspired vocals, as well as its guitar solo which simply helps it in being the most complete of the four tracks. In other words, this composition will leave you eager for more of Devolted’s solid rock music.
Knowing how much Dubliners love metal music, I can’t believe this is the first review to ever be done for a band from such a special city. Well, at least it was worth the wait, as Devolted simply kick fuckin’ ass with their storm of rock and metal. And in order to know more about the band, go visit their Facebook page, YouTube channel and ReverbNation, and don’t forget to support Irish Heavy Metal by purchasing Broken Kings at their BandCamp page or on iTunes. After getting used to their music, all you have to do is head to the nearest Irish pub, grab a couple of pints, get drunk and, to the sound of Devolted, start a nice brawl with some strangers (or even with your friends), how about that?
Best moments of the album: Broken Kings.
Worst moments of the album: None.
Released in 2016 Independent
Track listing 1. My Monster 4:36
2. Dogs Of War 3:37
3. God Of Light 4:05
4. Broken Kings 4:40
Band members Rafal Smyczynski – vocals, bass
Mark O’Reilly – guitar, backing vocals
Killian Chellar – guitar, backing vocals
Dominik Tokarski – drums
Delivering a huge amount of energy, power and passion for heavy music to their fans since 1993, always exploring important topics such as the defense of the animal rights, vegetarianism, ecology and the denunciation of the overconsumption of mass, French Metalcore act Primal Age marked the 90’s by being among the first European bands to mix Heavy Metal and Hardcore into their music, gaining a lot of positive feedback from fans of both styles. That amazing reaction from the audience opened the doors for the band to spread their music globally, sharing the stage with renowned acts like Napalm Death, Caliban, Madball, Hatebreed and Agnostic Front, as well as playing many festivals such as Free Edge Fest, Hellfest and Sonisphere and performing in distant lands like Brazil and Japan through the years.
Can the excellent Counterfeiters of the Science be labeled as “Tribal Metalcore”? It’s a fuckin’ furious and ruthless composition, in special the harsh and aggressive growls by Didier, with its unstoppable and vicious sounding being the epitome of the music by such distinct act. And featuring singers Julien Truchan (Benighted) and Koba (Loyal To The Grave), the remarkable Slayer medley named To Jeff is a beautiful tribute to the one and only Jeff Hanneman (R.I.P.). You have to listen to it to feel its potency, but as a quick summary of what you’ll find in the music (or I should say a “spoiler”), it starts with a few nice words from Jeff himself, followed by the band’s excellent versions for parts of the all-time classics “South of Heaven”, “Dead Skin Mask” and “Raining Blood”, ending with a good chunk of “Angel of Death” and back to a “Raining Blood” finale. In my humble opinion, this is a superb homage to Jeff and there’s no way you can stay indifferent to its energy and rhythm.
THE HEADBANGING MOOSE 