Album Review – Orphique / Consécration Cadavérique (2022)

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

Quebecois one man Black Metal project Orphique has unveiled a debut album entitled Consécration Cadavérique, which has been independently released on cassette, but has also seen a CD release via Sepulchral Productions.

The first of five tracks, Onirique has a steady, composed feeling to it; a methodical sound that breaks into blast beating fury in a mature and controlled way. Vocally, Monsieur Potter has a powerful snarling style, whilst his song-writing technique leans towards the intricate and thought provoking. He’s also a very talented guitarist and some of his guitar based melodies are extremely beautiful to behold, as are his stark, cold undertones. As for his bass playing technique, it is again deliberate, strong and pronounced, and each instrument has been given its time to shine on this opening track, which just like the whole album is recorded and mastered smoothly.

Whilst this album is technically very sound, there is a spark missing in my opinion. So, whilst the album is more than listenable, it also fails to set the blood pumping in a way that a truly great album would. If anything, Consécration Cadavérique feels very much like a paint by numbers album, right down to the subtle use of synth and the obligatory tremolo picking. So whilst everything fits well together, the album flows nicely and there is plenty of bleak melody involved, it still feels a little formulaic.

With all of that being said, Consécration Cadavérique is still a very enjoyable album, just not an exciting one.

Best moments of the album: The overall fluency and technicality of the musicianship.

Worst moments of the album: There are no worst moments especially.

Released in 2022 by Sepulchral Productions

Track listing
1. Onirique 10:15
2. Vampirique 8:31
3. Chromatique 6:04
4. Chimérique 5:23
5. Sporadique 8:43

Band members
David Potter – vocals

Guest musicians
Marc-Antoine Lizotte – guitars
Arnaud Fillion – bass
Michel Bélanger – drums
Cyril Tousignant – acoustic guitars, additional vocals
Conor Campbell – additional vocals

Links
Orphique Facebook | BandCamp

Album Review – Reanimator / Commotion (2022)

This unrelenting Canadian Thrash N’ Roll beast returns to action after seven years with their strongest effort to date, offering us all an overdose of heaviness, rage and rebelliousness.

Since the creation of the band in 2005 in the beautiful city of Montreal by Patrick Martin and Maxime Cormier, the unrelenting Thrash N’ Roll beast Reanimator dug an important place in the Quebec metal scene, offering incendiary Thrash Metal dotted with old school and more contemporary elements, kicking some asses wherever they go. Now in 2022 the band currently comprised of Patrick Martin on vocals, Philippe Lemire and Joël Racine on the guitars, Frédérik Bizier on bass and Francis Labelle on drums strikes again with their third full-length opus, entitled Commotion, the follow-up to their excellent 2015 album Horns Up. Recorded, engineered, mixed and mastered by Jef Fortin at Badass Studio, produced by Carlos Ponte and Dany Soucy at Bam&Co-Heavy, and displaying a sick artwork by the band’s own bassist Frédérik Bizier, Commotion will certainly please all diehard fans of thrashing masters the likes of Exodus, Megadeth and Municipal Waste, bringing to our ears an overdose of heaviness, rage and rebelliousness with a vibrant Québécois twist.

The strident guitars by Philipe and Joël ignite the title-track Commotion, exploding into ass-kicking Thrash Metal to the demented screams by Patrick while sounding very classy and violent at the same time, also presenting some electrifying guitar solos. The Ditch is another song perfect for slamming into the mosh pit, with the metallic bass by Frédérik walking hand in hand with the rhythmic beats by Francis in a nonstop thrashing extravaganza for lovers of the genre; whereas instead of burning the witch, it’s time to be Burnt By The Witch, drinking form the same fountain as Bay Area monsters such as Exodus and Anthrax. Moreover, simply bang your head nonstop to the razor-edged riffs by Philippe and Joël. Then putting the pedal to the metal the band offers the infernal Terry Fire, a play word with “terrifier” as you might have noticed, where Patrick sounds utterly enraged on vocals accompanied by the massive bass punches by Frédérik; and L’Appel Du Vide (or “the call of the void” from French) is a great song entirely sung in French with Patrick being nicely supported by his bandmates’ backing vocals, sounding frantic, dirty and visceral as expected.

Necronomicunt carries a beautiful name for another explosion of old school Thrash Metal by Reanimator where the band’s guitar duo is on fire from start to finish, slashing our ears mercilessly while Francis dictates the pace with his unstoppable drums; and grab a cold beer and head into the circle pit to the sound of Anti-Sobriety, offering us all more of their thrilling riffage, bestial drums and deranged vocals. After such high level of insanity, the band slows things down a bit and brings forward Wretched Affliction, presenting some interesting breaks and variations while Patrick keeps roaring like a beast (despite being a bit below the rest of the album). Back to a more direct, venomous sonority it’s time for the crushing Heads Or Tails, with Philippe and Joël once again stealing the spotlight with their refined riffs and solos; and lastly, let’s bang our heads and raise our horns together with such talented Canadian squad in Out For Justice, with Francis hammering his drums in great fashion while the roaring by Patrick sounds more insane than ever.

If you have what it takes to face this Canadian raging bull of Thrash Metal, you can enjoy Commotion in full on Spotify, and of course purchase the album by clicking HERE or from Boiteamusique.ca. Don’t forget to also check what those metallers are up to on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their inebriate, thrashing music. As aforementioned, Horns Up was already an amazing effort by Reanimator, but the evolution in their music from then to Commotion is beyond awesome, therefore placing them among the best metal bands of the current Canadian scene. And may the heaviness of the Thrash Metal blasted by Reanimator keep hammering us all for many years to come, always fierce and dauntless like the “abominautors” they are.

Best moments of the album: The Ditch, Terry Fire and Necronomicunt.

Worst moments of the album: Wretched Affliction.

Released in 2022 Bam&Co-Heavy

Track listing
1. Commotion 5:36
2. The Ditch 3:26
3. Burnt By The Witch 4:49
4. Terry Fire 3:32
5. L’Appel Du Vide 4:05
6. Necronomicunt 3:22
7. Anti-Sobriety 5:14
8. Wretched Affliction 3:58
9. Heads Or Tails 3:20
10. Out For Justice 4:56

Band members
Patrick Martin – vocals
Philippe Lemire – guitars
Joël Racine – guitars
Frédérik Bizier – bass, backing vocals
Francis Labelle – drums

Concert Review – Scorpions (Bell Centre, Montreal, QC, 08/27/2022)

And the city of Montreal still believes in the Rock N’ Roll played by the most important band in the history of Germany.

OPENING ACT: Thundermother

One week after the stunning Rammstein concert in Montreal, and after several hikes through trails and mountains in different parks in Quebec, I was back to Montreal for an explosion of classic Rock N’ Roll at the Bell Centre thanks to the Rock Believer World Tour 2022 by the one and only German Hard Rock institution SCORPIONS, supported by the electrifying Swedish girls from THUNDERMOTHER. Unfortunately, due to an infection that afftecs Mr. David Coverdale’s ability to perform, there will be no Whitesnake in any of the North American dates, which was also the case in Montreal, reducing the whole night to three hours of music instead of maybe four and a half, and that’s my only complaint about the whole concert as they could have given Thundermother another 20 or 30 minutes to play.

Anyway, the crowd had only one hour form the opening of the doors at 6pm until the unstoppable girls from THUNDERMOTHER took Montreal by storm with their breathtaking Rock N’ Roll, presenting songs from their entire career while focusing as expected on their latest albums Heat Wave, from 2020, and their newborn beast Black and Gold, which will be reviewed here at The Headbanging Moose Show sooner than you can say “Rock N’ Roll”. Frontwoman Guernica Mancini, guitarist Filippa Nässil, drummer Emlee Johansson, and newcomer Mona “Demona” Lindgren, who has recently replaced Majsan Lindberg on bass, put on a tremendous show that will surely help to grow their fanbase in Canadian lands, delivering nonstop fire and energy to the audience. Songs like Whatever, Black and Gold and Loud and Free are pure adrenaline in the form of music, but it was their last batch of songs comprised of We Fight for Rock ‘n’ Roll, Watch Out and their rockin’ hymn Driving in Style that truly showed why they were chosen to open for the mighty Scorpions and why they’re becoming more and more famous and admired in the world of music. Guernica’s voice is like thunder, so powerful and loud, that I wonder where she will go armed with such striking pipes. Hopefully back to Canada in a not-so-distant future for a few more concerts.

Setlist
Whatever
The Road Is Ours
Dog From Hell
Try with Love
Back in ’76
Black and Gold
Loud and Free
I Don’t Know You
We Fight for Rock ‘n’ Roll
Watch Out
Driving in Style

Band members
Guernica Mancini – vocals
Filippa Nässil – guitar
Mona “Demona” Lindgren – bass
Emlee Johansson – drums 

SCORPIONS

After a very short break it was time for the most important band in the history of Germany to kick some serious ass with their undisputed fusion of Hard Rock and Rock N’ Roll, putting a huge smile on the faces of every single person at the Bell Centre. As the name of the opening song of this new tour already says, the rockin’ SCORPIONS still have a lot of “gas in the tank”, which became crystal clear throughout their entire set blending new songs from the excellent Rock Believer with some of their biggest classics including Make It Real, Bad Boys Running Wild, Tease Me Please Me and Blackout. There was no time to breathe as those German rockers put the pedal to the metal until the very end, turning the night into another memorable visit to Montreal.

I honestly don’t know how Mr. Klaus Meine keeps on rockin’ like that at 74 years of age. He’s not human, he can’t be, as not only his voice is still fantastic, but his onstage performance is captivating. The same can be said about the band’s axe duo Matthias Jabs and Rudolf Schenker, supported by the rumbling bass by Paweł Mąciwoda and, of course, the demolishing beats by Mikkey Dee. To be fair, I can’t think of a better place for Mikkey Dee to be after the end of Motörhead, and Scorpions are really lucky for having such talented drummer with them as they’ve never sounded so heavy and groovy in their entire career (and may that happy marriage last for all eternity).

From their new songs, the most exciting ones were of course the opener Gas in the Tank and Peacemaker, but the title-track Rock Believer also worked really well live inspiring us all to raise our fists and horns in the name of Rock N’ Roll. And what can I say about their classics? How many bands do you know that have so many rock hymns like Scorpions? Who doesn’t love to sing out loud Send Me an Angel, Big City Nights and Still Loving You from the bottom of their hearts? And what they did with the touching Wind of Change, adapting the original lyrics in support of Ukraine, is a thing of beauty that everyone at the venue loved to sing together with the band while the background showed the peace sign with the Ukrainian colors. “Now listen to my heart / It says Ukrainia / Waiting for the wind to change…”

As usual, a Scorpions concert is not complete without the Rock N’ Roll hit Rock You Like a Hurricane, and it didn’t matter if it was a little kid or a 75-year old lady, everyone who attended their concert at the Bell Centre screamed, danced and raised their fists in the air during the entire song, ending with a loud-as-hell standing ovation to the band that lasted for several minutes. It was deafening, sometimes even louder than the rock music played by Scorpions, showing how much respect and love the fans in Montreal have for the band. I almost missed Scorpions because their show in Toronto was on the same day as Rammstein in Montreal, but I’m glad I made the right decision to see them in Montreal a few days later. Why? Because just like the city of Montreal, I believe in the Rock N’ Roll played by Scorpions.

Setlist
Gas in the Tank
Make It Real
The Zoo
Coast to Coast
Seventh Sun
Peacemaker
Bad Boys Running Wild
Delicate Dance
Send Me an Angel
Wind of Change
Tease Me Please Me
Rock Believer
Blackout
Big City Nights

Encore:
Still Loving You
Rock You Like a Hurricane

Band members
Klaus Meine – vocals
Matthias Jabs – guitars
Rudolf Schenker – guitars, backing vocals
Paweł Mąciwoda – bass
Mikkey Dee – drums

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Concert Review – Rammstein (Parc Jean-Drapeau, Montreal, QC, 08/21/2022)

Vielen Dank für eine unvergessliche Nacht in Montreal, Rammstein!

OPENING ACT: Duo Jatekok or Duo Abelard… or maybe both?

Although it’s already August 29, I’m posting this review retroactively to August 22 as I was away on vacation and didn’t even touch my laptop for the past week and a half, and only because the concert in question was beyond perfect to be “ignored” by The Headbanging Moose. Originally scheduled for August 20, 2020 at Parc Jean-Drapeau, and then rescheduled for August 22, 2021 and later for August 21, 2022, Neue Deutsche Härte masters RAMMSTEIN were finally able to return to Canada for one hell of a concert after the Covid-19 pandemic madness seems to be over. I had been patiently waiting for this concert for the past two years, and I knew I wasn’t going to be disappointed at all.

However, prior to Rammstein hitting the stage, two piano duos named Duo Jatekok and Duo Abelard were scheduled for warming up the crowd. I have absolutely ZERO idea which duo ended up being the opening act, or if both were there playing simultaneously, because there was a massive thunderstorm right before the concert that made it impossible to get to Parc Jean-Drapeau before 7:30pm. Duo Jatekok is formed by Naïri Badal and Adélaïde Panaget, and they have been collaborating with Rammstein since 2017, which by the way will lead to an original crossover album named Jatekok plays Rammstein in the near future. Duo Abelard is comprised of Héloïse Hervouët and Katherine Nikitine, and based on what I heard they were supposed to deliver a pure Rammstein setlist including songs like Mutter, Diamant, Früling in Paris, Zeit and Deutschland. As I mentioned, I have no idea who played before Rammstein, but if you like piano music you should definitely give those girls a listen.

RAMMSTEIN

It was only around 8pm when the massive, futuristic/apocalyptic castle-inspired stage lit up the entire city of Montreal to the sound of the intro Music for the Royal Fireworks, by George Frideric Handel, hypnotizing all of the 50,000 fans at Parc Jean-Drapeau (and I still think there were a lot more people than that, maybe close to 60,000 or 65,000) before Till Lindemann, Richard Z. Kruspe, Paul Landers, Oliver Riedel, Christian “Flake” Lorenz and Christoph Schneider hit the stage with their unparalleled performance that lasted for about two unforgettable hours.

As aforementioned, due to the pandemic, RAMMSTEIN were forced to reschedule their performance in Montreal twice, one in 2019 and one in 2020, and that’s the main reason why this tour is a hybrid between their 2019 sef-titled album and their newest opus Zeit, and in my opinion that was a treat to all of their fans as not only we had the pleasure of listening to tons of classics such as Links 2-3-4, Mein Herz brennt and Heirate mich, but also to a bunch of amazing new songs the likes of Zeig dich, Zeit, Radio, Zick Zack and Ausländer.

I was lucky enough to grab a ticket for the “Feuerzone”, or the fire zone, which works like a VIP area that’s closer to the stage and where you can obviously experience all the fire blasted by Rammstein throughout their entire concert, and believe me, there was A LOT of fire, driving the temperature up considerably. A few songs such as Puppe and Rammstein became even more powerful due to all the fire used, and even if you were far, far back from the stage there was still plenty to enjoy as the entire presentation was majestic and incendiary.

Till Lindemann is a superb frontman that can be compared to Bruce Dickinson and Rob Halford in terms of the way he captivates the audience from start to finish with his electrifying performance, but for me the man of the night was keyboardist Christian “Flake” Lorenz. He is such a cool guy, extremely talented and fun, and if you pay good attention to the band’s full performance he is the one that leads the way, spearheading his bandmates with his classy and awesome keys and synths from until the very last second of the concert, always dancing and having a very good time. Well, to be honest, the entire band was on absolute fire, but Christian was literally set on fire during Mein Teil, showing how much his bandmates and of course his fans love him.

As I said their entire setlist was insane, but of course there were a few songs that touched my heart, invaded my mind and took my soul to another dimension, those being their newest anthem Deutschland, their undisputed hit Du hast, my favorite Rammstein song ever Sonne, their funny hit Pussy, and their stunning piano version of Engel together with Duo Abelard (oh yes, there they were!) on a secondary stage which ended with the band being carried by the fans on white rescue boats back to the main stage. It was beyond epic. As a matter of fact, there are no words that could describe their live concert properly, but I can say that without a shadow of a doubt they’re the best live act of the current rock and metal scene, period. No other band in the world offers something so grandiose and unique to their audiences, and if I were you I would try to see them during this rare North American tour no matter what, as who knows, it might take another decade for them to return to Canada and the US (if they ever return). Vielen Dank, Rammstein! I’ll never forget such incredible night! Adieu, Goodbye, Auf Wiedersehen!

Setlist
Music for the Royal Fireworks (George Frideric Handel song)
Armee der Tristen
Zick Zack
Links 2-3-4
Sehnsucht
Zeig dich
Mein Herz brennt
Puppe
Heirate mich
Zeit
Deutschland (Remix by Richard Z. Kruspe)
Deutschland
Radio
Mein Teil
Du hast
Sonne

Encore:
Engel (with Duo Abelard) (Piano-Version, performed on B-stage)
Ausländer
Du riechst so gut
Pussy

Encore 2:
Rammstein
Ich will
Adieu
Sonne (Piano-Version)
Haifisch (Haiswing Remix by Olsen Involtini)
Ohne dich (Piano-Version)

Band members
Till Lindemann – lead vocals
Richard Z. Kruspe – lead guitar, backing vocals
Paul Landers – rhythm guitar, backing vocals
Oliver Riedel – bass guitar
Christian “Flake” Lorenz – keyboards, samples, synthesizers
Christoph Schneider – drums, percussion

Album Review – Cauchemar / Rosa Mystica (2022)

Behold the fully realized expression of this French-Canadian band’s signature sound of somber traditional doom they have been perfecting since their inception.

Rising from their moss-covered crypt, French-Canadian Heavy/Doom Metal act Cauchemar is back with their third full-length opus, darkly titled Rosa Mystica, the band’s first offering since the 2019 compilation Trapped Under Ice. Meticulously composed and rehearsed to perfection, recorded at No Man’s Land Studio, and displaying a stylish cover art by Russian artist Valeria Sakseeva, the album is a fully realized expression of Cauchemar’s signature sound of somber traditional doom the band has been perfecting since their inception in 2007 in Montreal, Quebec, Canada, delivered with the vigor of Heavy Metal. The atmosphere on Rosa Mystica is spacious and rustic, gilded by the warm glow of stained-glass luminescence, all carefully brought into being by frontwoman Annick Giroux and her French-language incantations, guitarist François Patry and his austere muscular riffs, and bassist Andres Arango and drummer Joel Ladouceur’s vaulted geometry.

An atmospheric, grim intro to the acoustic guitars by François kicks off the old school opening song Jour de colère (or “day of wrath” in English) while Andres and Joel generate a rumbling ambience with their respective bass and drums, offering Annick all she needs to powerfully shine on vocals, whereas blending the epicness of classic Heavy Metal with the obscurity of Doom Metal the quartet offers us all the excellent Rouge sang (“blood red”), with Annick taking the lead with her solid vocals while François keep extracting fire from his riffs. Leaning towards pure Doom Metal, Notre-Dame-sous-Terre (“Notre-Dame-under-Earth”) is a Stygian composition by Cauchemar with Joel delivering those sluggish beats we love so much, and more of the blazing riffs and solos by François embellish the airwaves in Danger de nuit (“danger at night”), accompanied by the low-tuned bass by Andres in a thrilling hybrid of Heavy and Doom Metal with classic Hard Rock.

The title-track Rosa mystica brings to our ears another round of their cryptic Doom Metal spearheaded by the slow and steady drums by Joel. Needless to say, the guitar lines by François are a thing of beauty, whereas adding elements from Speed and Thrash Metal to their core sonority we’re treated to the high-octane aria Le tombeau de l’aube (“the tomb of dawn”), showcasing another spot-on performance by Joel on drums. Volcan (“volcano”), featuring a guest guitar solo by Alan Jones, is an old school Doom Metal chant with Blackened Doom nuances slightly less visceral than its predecessors but still very enjoyable; and last but not least, François’ acoustic guitars and the low-tuned bass by Andres kick off the melancholic La sorcière (“the witch”), offering our ears six minutes of mesmerizing doom enhanced by a guest guitar solo by Chany Pilote that puts a beyond climatic ending to the album.

Annick and her henchmen are waiting for your feedback on their music on Facebook and on Instagram, and of course if you want to show your total support to the Canadian underground you can purchase a copy of Rosa Mystica from the band’s own BandCamp page, or if you’re in Canada, in the United States or other non-EU country you can also get the album from the Temple of Mystery webstore as a CD, an LP or as a very special gold “Die Hard” version with a 4-page insert, a woven patch, a sticker and an 11″ x 17″ A3 poster, as well as from Record Shop X. In other words, let the atmospheric music found in Rosa Mystica penetrate deep inside your soul, keeping the fires of underground doom burning bright thanks to the talent and hard work of one of the torchbearers of the Québécoise scene.

Best moments of the album: Rouge sang, Danger de nuit and Le tombeau de l’aube.

Worst moments of the album: Volcan.

Released in 2022 Temple of Mystery

Track listing
1. Jour de colère 6:18
2. Rouge sang 3:11
3. Notre-Dame-sous-Terre 5:49
4. Danger de nuit 4:51
5. Rosa mystica 5:28
6. Le tombeau de l’aube 2:50
7. Volcan 5:22
8. La sorcière 6:07

Band members
Annick Giroux – vocals
François Patry – guitars
Andres Arango – bass
Joel Ladouceur – drums

Guest musicians
Alan Jones – guitar solo on “Volcan”
Chany Pilote – guitar solo on “La sorcière”

Metal Chick of the Month – Bruna Wanderley

Beauty in desolation, or else…

Born and raised in the city of Brasília, inaugurated as Brazil’s capital in 1960, but currently residing in the charming city of Montreal, in the province of Quebec, in Canada, our metal lady of the month of April is here on The Headbanging Moose to embellish the airwaves with her distinguished music, bringing us the joy of the spring that has just started while still sounding as metal as she can be. If you’re a fan of progressiveness, groove and experimentations in Rock N’ Roll and Heavy Metal, get ready to be stunned by the multi-talented Bruna Wanderley, a songwriter, vocalist and cellist who’s taking the world of heavy music by storm with her brand new project, entitled Kapitur. You’ll certainly fall in love for the thunderous sound of her cello, placing her among the most interesting new names of the independent scene in Canada. Having said that, are you ready to rock together with Bruna and her incendiary cello?

Drawing from a young life in Brazil, living in an environment of violence, fear and contrasting beauty, artist and multi-instrumentalist Bruna Wanderley grew up in a conservative Evangelical milieu, which has led her to tease her family’s most beloved boundaries and, since her solo arrival to infamously libertine Montreal in 2015, she has actively performed and recorded as a cellist in a wide array of contexts. For instance, until the beginning of 2019 she was part of an Art Punk Rock band from Montreal named Spectroom, before the band called it quits in February that year. Bruna played cello with Spectroom together with vocalist and bassist Angelo Carocci, guitarists Branco De Souza and Raya Traboulsi, and drummers Matisse Chan and Emixam Maxime Gaboriault, having recorded with them the 2018 five-song EP Kissing Garbage, available for a full listen on Spotify. Although not being metal at all, the music by Spectroom can indeed provide you with very nice and relaxing moments while listening to it, and of course you can enjoy each note played by Bruna on her stylish cello.

Apart from her time with Spectroom, Bruna can be seen playing live with Canadian Death Metal band Infección as their bassist (not cellist) together with vocalist and guitarist Diego, drummer Andrés, and also guest guitarist Jean Bélanger, since 2021. She might not have recorded anything yet with the band, but if you want to have a taste of their fury and aggressiveness you can enjoy their debut demo on their BandCamp page. Furthermore, Bruna was also a guest vocalist for Canadian Progressive Death Metal band Messora on their 2019 album The Door, recording additional vocals for the songs The Veil and The Tide. And if you want to see Bruna Wanderley “multiplied” by four, you can enjoy Bruna’s cover video of Making a Murderer’s full theme by composer Gustavo Santaolalla, who’s largely known for his original score for The Last of Us, with all effects on the electric cello achieved with Line 6’s Helix LT.

Before we talk about Bruna’s brand new endeavor Kapitur, it’s important to mention that, besides her career in the Arts and Culture industry working mainly as a cello instructor and performer in Montreal, where she currently resides as already mentioned, she also studied Sociology and Anthropology at UnB – Universidade de Brasília in Brazil from 2010 to 2015, Music at Escola de Música de Brasília from 2007 to 2013, and Music at Vanier College in Canada from 2016 to 2018, and has not only obtained several certifications in web programming and development such as Programming in HTML5 with JavaScript and CSS3, Regex and jQuery, but she also has experience working to some companies in Montreal in that segment, as well as volunteering experience as a barista and also running art workshops for Coop Le Milieu, also in Montreal.

However, as this is an underground metal webzine let’s focus on what really matters, and that’s the fusion of extreme music with the whimsical, thunderous sound of her cello in her new project, entitled Kapitur, formed in 2020. Under the up-and-coming Montreal, Canada-based Kapitur she composes, sings, performs guttural vocals and plays the cello, while Sam Neumann’s unyielding drumming presents a strong contrast with the her unbound vocal and cello lines, also supported by guitarist Zach Dean and bassist Bruno Coe. The music is filled with soundscapes and hammering repetitions with bleak cacophony followed by heavenly melodies, being therefore highly recommended for fans of the music by Opeth, modern Swans, Godspeed You! Black Emperor, Saltland, and Tina Guo, among others. Bruna and her Kapitur will release an EP of original songs in the upcoming months, and while we wait for such distinguished experiment let’s stay in touch with the band on Facebook, on Instagram, on BandCamp, and on Spotify, where by the way you can find her first-ever releases, those being the demo song Decay, and the cover version for Sepultura’s all-time classic Roots Bloody Roots (or click HERE for all locations where you can buy or stream the song).

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“Twenty-six years ago, Roots Bloody Roots pleaded for the preservation of Brazilian cultural diversity. Today, Kapitur’s distinctive revisit of the song revolves around the historical alienation of common people regarded as different, the Bloody Roots of us outsiders. It grips on the struggle of finding oneself estranged from one’s original and adoptive cultures, to the ongoing murder and colonization suffered by many people in a land that was theirs for centuries; from immigrant, racial, religious intolerance to the global, modern alien anxiety suffered by African descendants and their relationship to an inaccessible homeland. Roots Bloody Roots is about you, or someone you know and care for,” commented Bruna about her newborn beast. Recorded and mixed by Jonathan Lefrançois Leduc, Kapitur’s rendition for such undisputed metal classic will surely put a huge smile on the faces of Max and Igor Cavalera, Andreas Kisser and Paulo Jr., not just because of its rawness and aggressiveness, but also because Bruna is proudly carrying the flag of Brazilian metal to the four corners of the earth with her talent and hard work.

There are a few fun facts about Kapitur and the recording of Roots Bloody Roots that are definitely worth sharing with everyone reading this tribute to Bruna. First of all, when Kapitur’s music video for the song was still unpublished, someone Bruna knows sent a private link to it to Sepultura, and they loved it so much that Derrick Green himself contacted her to say it’s very creative, that it sounds incredible and that he looked forward to meeting her in person, which happened during their concert in Montreal on March 17 this year. In addition, Bruna mentioned that shooting the music video for the song was one of the most demanding and fun experiences the band has had so far. “It was a very cold Fall day, we set up a tent on the sandpits and unexpectedly spent 13 hours outdoors on the first day. As soon as we got there, one of the cars got stuck in the mud, and only after greatly shoving, did a guy on a tractor appear to tow the car in a few seconds. The photographer was buried naked in the sand at 5°C – he did say he liked it. For the entire time, I was cold from shooting in a thin dress and being barefoot on the sand. At night, we had to beware of the coyote sounds coming our way – it was so reassuring to have combustible material available, just in case. Finally, all the team left the site at 3 a.m., with our gear frosted by the dew and fake blood stains on our clothes and shoes. That whole night felt really special though. Will do it again next year, once we get rid of all the sand stuck in our stuff,” said our skillful cellist.

In summary, the multi-talented Bruna Wanderley can sing, play cello and bass, compose, write lyrics, act, and so on, which proves how focused and talented she is and, at the same time, showcases all her passion for music in general. I won’t be surprised if in a not-so-distant future we start seeing partnerships between Bruna and both underground and mainstream rock and metal bands, and I would love to see what she could do together with renowned bands the likes of Cradle of Filth, Triptykon and Tristania, adding her own touch of darkness, doom and heaviness to their already venomous music. Having said all that, let’s raise our horns to the “Cello Metal” blasted by Bruna Wanderley, resting assured she’ll always remain loyal to heavy music and to her roots, bloody roots.

Bruna Wanderley’s Official Facebook page
Kapitur’s Official Facebook page
Kapitur’s Official Instagram
Kapitur’s Official YouTube channel
Kapitur’s Official BandCamp page

“It’s uncommon to hear a classical instrument like the cello in heavy music that isn’t Melodic or Symphonic Metal. My intent is to explore creative ways of using my instrument in heavier contexts.” – Bruna Wanderley

Album Review – The Agonist / Days Before the World Wept EP (2021)

Canada’s own Melodic Death Metal beast returns with a new EP inspired by real life experiences, exploring a grim, conceptual tale of greed, gluttony, confusion, pain, redemption and hope.

After the excellent full-length albums Eye of Providence and Orphans (and the mediocre Five), Montreal, Canada-based Melodic Death Metal/Metalcore outfit The Agonist is back in 2021 with an amazing new EP beautifully titled Days Before the World Wept, taking another bold step in their musical and lyrical progression. Produced by Christian Donaldson at The Grid Productions (Beyond Creation, Cryptopsy, Despised Icon), Days Before The World Wept is inspired by real life experiences, exploring a grim, conceptual tale of greed, gluttony, confusion, pain, redemption and hope enveloped in a new level of aggression and cohesive, technical prowess carefully brought into being by frontwoman Vicky Psarakis, guitarists Danny Marino and Pascal “Paco” Jobin, bassist Chris Kells and drummer Simon McKay, therefore representing a new solid stone in the metallic castle of one of the most important bands of the Canadian metal scene.

Serene, melancholic piano notes ignite the Melodic Death Metal extravaganza titled Remnants in Time, where Vicky sounds like a she-wolf on vocals, growling like a demented creature while Simon hammers his drums mercilessly, or in other words, it’s old school The Agonist with a modern twist. Immaculate Deception is another shot of brutality and harmony by the quintet, with Danny, Pascal and Chris slashing their stringed weapons in great fashion, therefore putting us all to headbang nonstop; followed by Resurrection a solid metal tune where Vicky continues to shine with both her deep guttural roars and her piercing clean vocals, showcasing tons of intricacy and violence thanks to the rumbling kitchen by Chris and Simon. And the band’s guitar duo keeps extracting sheer electricity and darkness from their weapons while Vicky screams and sings beautifully in Feast on the Living, presenting a classic Melodic Death Metal sound infused with Metalcore elements, not to mention how vibrant the drums by Simon sound and feel. Lastly, the title-track Days Before the World Wept is the most demonic and heaviest of the EP, with Vicky being a beast incarnate on vocals, offering us all six minutes of savagery with the band’s trademark melody while bringing to our ears razor-edged riffs and crushing beats, all spiced up by a delicate and whimsical chorus.

In a nutshell, The Agonist nailed it with Days Before the World Wept, which is by the way available for a full listen on YouTube and on Spotify, bringing to our avid ears the band’s full potential even being just a five-track EP, and you can show your support to Vicky and the boys by following them on Facebook, Instagram and YouTube, and by purchasing the EP by clicking HERE, or in case you have some extra budget left I recommend you go for the outstanding Days Before the World Wept Immortal Bundle including a signed vinyl 45RPM, a signed CD, a signed 11×17 poster, a 4×4 sticker, a pullover hoodie, a stress ball, a bottle opener keychain, and a T-shirt (from five awesome choices). The days before the world wept might be long past us, but the music by The Agonist remains strong, heavy and thrilling just the way we like it in their new opus, paving the way for more of their first-class releases in the coming years.

Best moments of the album: Remnants in Time and Days Before the World Wept.

Worst moments of the album: None.

Released in 2021 Napalm Records

Track listing
1. Remnants in Time 4:53
2. Immaculate Deception 3:35
3. Resurrection 5:11
4. Feast on the Living 3:22
5. Days Before the World Wept 6:05

Band members
Vicky Psarakis – vocals
Danny Marino – guitar
Pascal “Paco” Jobin – guitar
Chris Kells – bass
Simon McKay – drums

Album Review – Nordicwinter / Sorrow (2021)

An unstoppable one-man army from Canada examines the darker side of the human condition in his beautiful new album of Atmospheric and Depressive Black Metal.

3.5rating

nordicwinter-sorrow-2021After a lengthy hiatus, Quebec, Canada-based Atmospheric Depressive Black Metal one-man horde Nordicwinter came back in a big way in 2020, releasing two new full-length albums (Requiem and Desolation) and showing no sign of slowing down as the project hits us once again with a new full-length album, entitled Sorrow, released amidst the dead of winter. Produced and engineered by the Nordicwinter’s mastermind Evillair (aka Yves Allaire, who’s also responsible for all vocals, all instruments, drum programming, production, engineering, songwriting and lyrics), recorded, mixed an mastered at Dirgevows Studios, and featuring a somber cover image by Melissa Parker, Sorrow examines the darker side of the human condition through somber and melancholic music sticking at a mostly mid-tempo pace, being therefore highly recommended for fans of the music by bands the likes of Xasthur, Austere, NONE and Nocturnal Depression.

And Evillair begins his atmospheric and melancholic journey with Somber Winds of Despair (Part I), showcasing enfolding guitars and a dark vibe, exploding into top-of-the-line Atmospheric Black Metal with the anguished roars by our one-man army penetrating deep inside your soul; whereas beauty and melancholy flow from Evillair’s words (“I see your cold corpse / Laying upon the crimson leaves / I hear the lost song / Whispered by the dismal breeze”) in Sullen Echoes, while the music offers our ears a sinister fusion of Blackened Doom and Atmospheric Black Metal. Then more of his Stygian sounds invade our ears in In This Darkness…, where his incendiary, classic Black Metal riffs will burn your skin mercilessly in paradox with the song’s bitterly cold background, not to mention his gnarls get more and more demonic as the music progresses.

This Mournful Dirge brings to our ears another round of his dark poetry (“In dismal veils of snow / I fade into this tomb / As fading memories / Whisper eternal gloom”) amidst a somber atmosphere in a great display of Depressive Black Metal, followed by Dying Winters, where a beyond embracing start will drag you into the cold lands ruled by Nordicwinter and with Evillair doing a great job with both his growls and riffs, all spiced up by the programmed drums (which sound truly organic, by the way). And what kicked off such intense album is completed with Somber Winds of Despair (Part II), again showcasing sharp but at the same time delicate guitars, venomous, introspective vocals, and a sense of hopelessness permeating the air until the very last second. In other words, a simply stunning creation by Evillair and his Nordicwinter, ending in a more than hypnotizing way and flowing into Enshrined by Solitude, a funereal, depressive outro that will darken your thoughts as the storm gets closer and closer.

nordicwinter-evillair-2021You can easily join Evillair and his Nordicwinter by streaming Sorrow in its entirety on YouTube and on Spotify, savoring every second of its over 50 minutes of solitude and introspectiveness, but don’t forget to also follow the project on Facebook and on Instagram for news and other nice-to-know details about this lone wolf of the Great White North, and above all that, to purchase a copy of the album from the project’s own BandCamp page, from the Hypnotic Dirge Records’ BandCamp page or webstore (as a regular CD or as a very special bundle), from Apple Music or from Amazon. In a nutshell, Evillair more than succeeded in providing us his view of the darker side of the human condition through his music, leaving us eager for more of his stunning Black Metal in a not-so-distant future.

Best moments of the album: In This Darkness… and Somber Winds of Despair (Part II).

Worst moments of the album: None.

Released in 2021 Hypnotic Dirge Records

Track listing  
1. Somber Winds of Despair (Part I) 7:27
2. Sullen Echoes 9:20
3. In This Darkness… 7:28
4. This Mournful Dirge 8:43
5. Dying Winters 9:36
6. Somber Winds of Despair (Part II) 8:11
7. Enshrined by Solitude 2:39

Band members
Evillair – vocals, all instruments, drum programming