Get ready for an overdose of heavy riffs, groovy sounds and soaring vocals by five talented guys who are among us to prove once and for all that modern rock music is alive and kicking.
In the spring of 2018, five Southern California musicians (Nathan Spades on vocals, Kyle Ort and David Bruno on the guitars, Eric Sinful on bass, and Dylan Roy on drums) came together to form a new band with the ability to seamlessly transition from crushingly heavy riffs to unforgettably haunting melodies and lyrics, leaving their respective project behind. That band is Hard Rock/Alternative Metal unity Dark Station, who are ready to unleash upon us their debut album entitled Down in the Dark, poised to cement the band’s name as a commendable force in the rock world. Put differently, get ready for an overdose of heavy riffs, groovy sounds, soaring vocals and electrifying passages by five talented guys who are among us to prove once and for all that modern rock music is alive and kicking.
A futuristic intro explodes into modern-day Alternative Metal in Ryse, where the groovy bass punches by Eric will make your head tremble while Nathan begins his enraged vocal attack amidst screeching guitar noises, resulting in a beyond solid welcome card by the band. Then drinking form the same fountain as icons like Nine Inch Nails, Marylin Manson and Korn, the quintet fires Heroes, a dark and melodic tune where Kyle and David once again pierce our ears with their riffs, not to mention its ominous aura, followed by New Age, with another wicked intro morphing into rumbling metal music, sounding very atmospheric and heavy. Moreover, Eric and his menacing bass are on fire throughout this headbanging song that perfectly depicts what modern American metal is all about. And Villain is even more alternative than all previous songs, showcasing a great job done by both Kyle and David on the guitars with their flammable riffs while Nathan’s vocals get more obscure and wicked, bringing an extra touch of lunacy to the overall musicality.
No Life sounds like the music from all bands from that period where we got Breaking Benjamin, Three Days Grace and so on, and although it might not be as vibrant as the other songs, its lyrics match perfectly with the music (“Summers eyes / Frienemies / Car exhaust / I can’t believe / Something else was inside me / yeah / You’ve gotta fight it alone now / It’s out of control”), whereas the born-to-be-a-radio-hit Obvious brings to our ears the utterly melodic bass punches by Eric while Nathan darkly declaims the song’s words (“We take the pain / Every day / Could we be the same / On the other side / I’ll try my luck again / Again / You know it’s not enough / For me”).After that awesome display of rock music we have Hollow, another somber, pensive creation by Dark Station where Nathan exhales melancholy from his vocals and with Dylan pounding his drums with tons of precision, also bringing crisp guitar solos and a huge dosage of anger for our total delight.
Leaning towards the most contemporary form of American Alternative Rock and Metal, Misery is a great option to be part of a soundtrack for hitting the road, with all instruments filling every single space in the air, therefore providing Nathan all he needs to thrive on vocals. Ghost keeps the album at a high level of adrenaline, flirting with Industrial Rock and Metal but keeping the band’s core essence intact. Not only that, Eric and Dylan make a very effective dynamic duo, bringing thunder to the music with their instruments; and modernized, metallic sounds keep permeating the air in Locked On, with its background futuristic touch helping enhance the impact of each instrument considerably, especially the guitars by Kyle and David alternating between more serene moments and razor-edged sounds. As their final blast of Alternative Metal, we’re treated to more of the band’s radio-ready rockin’ music in the form of Visions, where slashing riffs are powerfully complemented by the crushing bass by Eric and Dylan’s rhythmic beats, ending in a desperate and captivating way.
What are you waiting for to show those talented Southern Californians your support and appreciation? Go check what they’re up to on Facebook, subscribe to their YouTube channel, bang your head to their music on Spotify, and get ready to rock to the sound of Down in The Dark sooner than you think by pre-ordering your copy of the album from the band’s official website or from Apple Music. There’s a new age of American Alternative Rock and Metal coming, and based on the quality and electricity flowing from Dark Station’s debut album I’m more than certain we’ll see those guys spearheading that very welcome movement in the coming years.
Best moments of the album:Ryse, Hollow and Misery.
Worst moments of the album:No Life.
Released in 2019 Independent
Track listing 1. Ryse 3:37
2. Heroes 4:19
3. New Age 3:09
4. Villain 3:55
5. No Life 3:09
6. Obvious 4:01
7. Hollow 3:13
8. Misery 3:00
9. Ghost 4:20
10. Locked On 3:23
11. Visions 4:34
Band members Nathan Spades – vocals
Kyle Ort – guitar
David Bruno – guitar
Eric Sinful – bass
Dylan Roy – drums
Can you feel the wind of the north, my dear Camille and Kennerly?
How about we celebrate insane six years of The Headbanging Moose with two very talented women who have the unique ability of transforming the heaviest and most intense metal classics into serene and touching ballads only armed with their ethereal harps? I’m talking about Camille and Kennerly Kitt, known worldwide as The Harp Twins, who have achieved an unprecedented success not only among metal fans but in countless other music genres and entertainment segments, leading them to tour across several countries in North and America, Europe and anywhere else where their whimsical sounds are truly appreciated. And no, you’re not seeing double, as The Harp Twins are indeed identical twins, providing your avid ears double the pleasure with their refined skills by mixing all types of rock, metal and soundtrack arrangements with the gentle sounds flowing form their harps. Not only that, Camille and Kennerly are also accomplished actresses, showing there’s no actual limit for this talented American duo.
Born in the city of Chicago, Illinois, United States in 1989, with their heritage being mostly Norwegian mixed with Swedish, Finnish, English, Scottish, French, German and a little Cherokee Indian, Camille and Kennerly began playing the piano when they were children, followed by the harp when they went to junior high school. The duo was drawn by the beauty of the harp, saying it seemed like a magical instrument to them. By the way, their first harps (small, pre-owned lever harps) were bought with money they got from jobs such as babysitting and dog-walking, in order to show their mother they were really serious about playing the instrument. Classically trained in piano and also capable of playing a little percussion, the two blonde harpists also love to sing, which can be seen in some of their own original compositions and cover songs, although of course their main focus is and will always be their mesmerizing harps.
Having already played their electric harps, acoustic and electro-acoustic concert grand harps in several concert series, festivals, fairs and conventions in front of the most diverse crowds, even playing for US presidents, tech geniuses and global leaders, Camille and Kennerly have released over 100 singles online since the beginning of their career, as well as some very interesting cover albums, developing a huge cult of followers worldwide through their social media and becoming undoubtedly the most famous harp duo in the world. All that success is not in vain, of course, as both sisters hold a Bachelor of Music degree in Harp Performance and graduated with highest honors (“Summa Cum Laude”) at Wheaton College Conservatory of Music, located in Wheaton, Illinois, not to mention their previous years in a music studies program at a local college where they were in the Honors Scholar Program and represented the college at several collegiate summits.
Despite being formally trained in classical music and having the aforementioned degrees, their true obsession in music has always been taking the harp to new heights and exploring new grounds, nurturing a deep passion for arranging and performing rock, metal and soundtrack music as a harp duet, as well as their Nordic-inspired original songs thanks to their Scandinavian origin, always without any backtracks, studio productions or record labels involved, beautifully representing what it truly means to be an independent artist. And after listening to their duet arrangements of contemporary songs from artists including Iron Maiden, The Rolling Stones, Metallica, AC/DC, Pink Floyd, Bon Jovi, Aerosmith, Guns N’ Roses, Enya and Journey, among many, many others, you’ll be able to fully understand why they have chosen to follow such distinguished path, embellishing the airwaves with their gentle, melodic and classy harp fingering.
As already mentioned, The Harp Twins, who by the way perform on Venus “Classic” Concert Grand pedal harps and Lyon & Healy “Silhouette” Electric lever harps, have several albums released (also in physical format) apart from their hundreds of online singles and videos, with their YouTube videos totaling over 106 million views with over 600,000 subscribers as of September 2019. For instance, their cover of Led Zeppelin’s Stairway to Heaven alone garnered over three million YouTube hits as of September 2019, while their version of Iron Maiden’s Fear of the Dark received over 11 million views as of September 2019. Their six self-produced albums are Harp Attack (2013), Harp Attack 2 (2015), Harp Attack 3 (2018), Harp Fantasy (2013), Harp Fantasty 2 (2016), and Winter Lights (2017); while the Harp Attack series are dedicated to covers of Rock N’ Roll, Hard Rock and Heavy Metal songs and the Harp Fantasy series focus on covers of video game, anime, film and television soundtracks such as Game of Thrones, The Walking Dead, Pirates of the Caribbean, Final Fantasy, Star Trek, Star Wars, Vikings, Silent Hill and The Lord of the Rings, just to name a few, Winter Lights was their first-ever holiday album, including two new original songs and ten new arrangements of holiday classics from years gone by. Furthermore, their music has also been featured in countless media like National Geographic, The Huffington Post, ABC News, Conan O’Brien’s TeamCoco, AMCtv.com, Guitar World, Revolver, and many more, having also been praised by different music icons like Megadeth, Billy Idol, Kansas and Within Temptation, who shared the twins’ music on their official social media.
As a metalhead, I’m pretty sure you’re eager to listen to Camille and Kennerly playing some of your favorite metal classics of all time, right? Well, all you have to do is subscribe to their YouTube channel, sit down and enjoy their harp versions for, but not limited to, Rush’s Closer to the Heart, Black Sabbath’s Paranoid, Dio’s Rainbow in the Dark, Metallica’s Fade to Black, Iron Maiden’s Run to the Hills, and Megadeth’s A Tout le Monde. Go visit their official YouTube channel, or buy their music from CD Baby or from Apple Music, relax and enjoy these and countless other classic like Send Me an Angel, Smoke on the Water, Sweet Child O’ Mine, Hotel California, Don’t Stop Believin’, Every Breath You Take, and so on.
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Camille and Kennerly always say they switch off playing melody and accompaniment, even within the same piece, and also that apart from all cover songs they do either by request or by their own choice, they have also been composing original music for their harps for years, which can be seen in songs like North and the music theme for their own animated logo. In addition, you can also find Camille and Kennerly as guest harpists in the intro Time to Set You Free, from the album The Second Big Bang, released in 2017 by Brazilian Melodic Power Metal project Soulspell. And regarding her main influences and idols in music, the twins mentioned in one of their interviews that their earliest musical influences were rock and classic rock because that’s what their mother used to listen to, including bands like The Rolling Stones, Aerosmith, Led Zeppelin, Billy Idol, Van Halen, ZZ Top and Johnny Cash, later expanding their range due to their classical training to most artists and bands who think outside the box and follow their own path.
Although their main focus is obviously on their harp career, the duo is also famous for their acting and modeling skills, being members of the Screen Actors Guild (SAG) and AFTRA and having already acted in theater, film and television. For instance, in the season 6 finale of The Walking Dead, they played a walker nicknamed “Ouch That’s My Hair”, who was fought and killed by the character Carol, and had roles as “The Marcelli Twins” in the dark teen comedy Blacktino (as you can see in the official trailer by clicking HERE), from 2011, as well as appearances in many other movies like Delivery Man (2013), Elephant Medicine (2010) and The End of Lost Beginnings (2009), and in several commercial such as a national Japanese commercials for Chupa Chups lollypops. Still talking about their film career, Camille and Kennerly always like to mention that they do all their videos by themselves, arranging the music, finding the filming location, making their own costumes, filming everything with a small hand-held video camera on a tripod, recording the sound in their own living room and editing the video themselves. Needless to say, there’s no such thing as playbacks or any other “magic tricks” in their videos, as what you hear is exactly how it’s being played by our multi-talented twins. Also, when asked about their life on the road, Camille and Kennerly said in several interviews they have lots of memorable moments to share, like when they represented the United States at the World Harp Festival in Paraguay, where they had extensive support from the American embassy resulting in a full concert the day after the event to a sold out theater, and all of their performances at several Walker Stalker Cons, playing right before panels with Norman Reedus, Andrew Lincoln, Chandler Riggs and Greg Nicotero. It’s impossible to list all events they have participated so far in their career, featuring in all types of public, private, philanthropic, academic, corporate, cultural and political events, proving once again how talented and professional they are.
Of course, there’s no Camille and Kennerly without their harps and vice-versa, and that’s why it’s important and truly interesting to know more about the girls’ ethereal weapons. Their acoustic concert grand harps are 6’3” (or 1.9 m) and weigh 90 lbs (or 40.8 kg), while their electric harps are 4’ (or 1.22 m) and weigh 16 lbs (or 7.25 kg); regarding the number of strings, their acoustic concert grand harps have 47 strings (which can have three different pitches, those being flat, natural and sharp), their electric lever harps have 33 strings (which can have two different pitches, either flat/natural or natural/sharp), and their Harpsicle Harps have 26 strings. In addition, although it’s possible for the twins to use distortion on their electric harps, they don’t actually do that due to the difficulty to use distortion while still continuing the melody and accompaniment; however, you can enjoy Camille and Kennerly blasting distorted harp sounds on their cover version for Billy Idol’s White Wedding (by the way, Billy Idol himself even said that “if you live long enough you get to see this version of White Wedding”), and a slight effect in their Doctor Who Theme and The Smith’s Asleep covers. When asked about how they manage to carry their harps everywhere and how they handle their weight while playing, they said they put a strap on their backs to do that, but that they also bruise their hips from the straps if they wear the harps for too long. They love the freedom of movement, though, helping them to properly perform rock songs with their electric harps. Some people like to ask them why they don’t move even more while playing, and they said it’s tougher to reach a necessary balance with the harps than with a guitar or violin, for example.
Aside from being impressive harpists, Camille and Kennerly also have a variety of other interests and hobbies in their lives, keeping them absolutely busy pretty much all of the time. For instance, the twins are third degree black belts in Tae Kwon Do and former Tae Kwon Do instructors, which by the way caused two broken fingers to Kennerly while sparring one day, and stitches to Camille’s face as a result of puncture wound sustained while holding a board that Kennerly was breaking. In the end, those incidents made them decide to stop practicing martial arts and focus on their career as harpists. Our beloved blonde musicians were also competitive swimmers as kids (having both qualified for the Junior Olympics five times), are experts in rifle marksmanship, and are trained in horseback riding, not to mention their passion for other activities and hobbies such as hiking, working out, watching TV shows like The Walking Dead and Vikings, reading, writing, and so on. Moreover, the Kitt Twins are also actively involved in their community, supporting education and health initiatives for unprivileged children overseas, and volunteering for many years at a monthly deaf/hard-of-hearing social gathering (and yes, they know sign language), among other endeavors, as they strongly believe in the importance of giving back. The girls also sponsor a few kids in Ethiopia, helping to provide them school, food, clothing and medical care, always hoping more and more people will follow their steps to make the world a better place.
Last but not least, Camille and Kennerly’s connection as twins is beautifully externalized in the way they always look at each other while they’re playing, and in their twin costumes (which as mentioned are always put together by the twins themselves by mixing and matching things they already have at home), unless of course they need to dress differently for a commercial, film or media project. Having said that, if you want to have double the fun with the classy and mesmerizing music by Camille and Kennerly, or if you are an event organizer who’s searching for a truly unique attraction to captivate the attention of your guests on your next big event, you can get in touch with The Harp Twins by sending an email to HarpTwins@HarpTwins.com, and don’t forget to keep an eye on their Events Page on Facebook for all of their public performances, concerts and other events. And if you want to show your support to their distinguished work with their harps, as aforementioned you can purchase their music from Apple Music and from CD Baby, or simply visit their official website for all music, news, tour dates and other nice-to-know information about the unstoppable twins who give a beyond welcome touch of delicacy to our good old rock and metal music.
“When someone tells us that our music has helped them through an illness, or inspired their child to learn an instrument, or even just given them some peace after a trying day, that means the world to us. As musicians, it’s the greatest feeling to know that our music has touched someone else in some way.” – Camille and Kennerly Kitt
The final breath of dark and heavy sounds by a now extinct metal unity will take you on a journey of isolation and hopelessness through the realms of Atmospheric Black Metal.
Let me begin this review by saying that I was absolutely shocked when I read earlier this year that the beyond promising and talented Rochester, New York-based Atmospheric Black Metal band Mavradoxa was calling it quits after only a few years of existence. Fortunately for all of us, fans of dark and atmospheric music, the band left us with three excellent full-length albums, those being their 2016 debut opus Sojourners, their fantastic 2017 release Lethean Lament, and more recently Nightmarrow, released earlier this year via Hypnotic Dirge Records. Although related to the tonal atmosphere and character of their previous albums, Nightmarrow sees the band developing and intensifying their song-writing ability, crafting simultaneously cohesive yet unpredictable songs with a progressive hue that is still rooted in Atmospheric Black Metal.
Engineered by Nicholas Alan at Subterranean Studios, mixed by Stephen Parker (Pillorian, Maestus), mastered by Justin Weis at Trakworx Recording, and featuring a stunning artwork by American artist Dylan Garrett Smith, Nightmarrow represents a meditation on the isolation and hopelessness of our age (particularly in the realm of the urban), and the consequences of technology and voracious consumption of resources. Mavradoxa’s founding duo Zachary Smith, also known as Nival, and Monica Finger, also known as Lux, together with guitarist Tyler Stasierowski (from The Highest Leviathan) and bassist Josh Mason (from Wandering Oak and Acrylazea), perfectly depict that feeling of solitude and desperation in Nightmarrow, positioning the unfortunately now defunct band as one of the most creative and interesting bands of the underground scene in the United States.
Featuring guest vocals by Matt Greenwood and an additional guitar solo by Nicholas Alan, the opening track Maple begins in full force with the razor-edged riffs by Zach and Tyler and the intricate beats by Monica generating a rumbling ambience perfect for Zach’s anguished roars, sounding as powerful and grim just the way we like it in Atmospheric Black Metal. Furthermore, the song’s progressive ending flows smoothly into the even darker musical voyage entitled The Carrion Shade, where Josh and Monica make the earth tremble with their respective instruments while the entire band darkly intones the song’s cryptic lyrics (“Black sun, black moon / In shadows, entombed / Flame, gold, & rust / slowly coalesced / in the pale of the / last winter sunset”). This is Progressive Black Metal at its finest showcasing all band members in absolute sync, therefore delivering a crushing wall of blackened sounds for our total delight, in special Zach and Tyler with their flammable guitars.
Matt Greenwood returns in the title-track Nightmarrow, where the music gets closer to what was offered to us in Lethean Lament, presenting more introspective and atmospheric sounds and passages. Zach sounds utterly enraged and acid on vocals, with Monica’s gentle clean vocals bringing more balance to this dense and bold feast of extreme music. Then an acoustic, ethereal bridge named Rustling Leaves soothes our souls and warms up our senses for Black Crystal Snowfall, featuring guest vocals by Swamp and sheer poetry flowing from its lyrics (“Ancestral whispers beckon us back / to a starless womb, to a time before / this place where all is languishing, / where all is ensnared by the grasp / of synthetic hands, becoming, / and ripping our bones from within”), also bringing forward elements from Blackened Doom added to their core atmospheric music. Monica’s steady beats and Zach’s and Tyler’s crisp riffs will undoubtedly embrace your soul from start to finish, reaching a climatic and piercing grand finale that gently morphs into a melancholic outro titled Umbra, where Zach and Tyler deliver a passionate performance with their acoustic guitars, concluding Nightmarrow on a high and pensive note.
If Nightmarrow, which by the way is available in full on YouTube and on Spotify, is indeed the last breath of Atmospheric Black Metal by Mavradoxa no one knows for sure. The band might decide to come back from their “retirement” one day to smash our senses again with their somber music, who knows? Until that day arrives (if it arrives, of course), you can keep in touch with Zach and Monica on Facebook, and purchase your copy of Mavradoxa’s final journey through the realms of atmospheric and extreme music from the Hypnotic Dirge Records’ BandCamp page (or click HERE for all details about the band and where to buy their music), as well as from your regular retailers such as Apple Music, Amazon, CD Baby and Discogs. Having said that, it’s with a heavy heart that I finalize this review (or maybe I should call it a tribute), as heavy, ominous and splendorous as the music by the now extinct Mavradoxa. Thank you for your music, Zah and Monica, and I’m sure we’ll be hearing from you two again in a not-so-distant future.
Best moments of the album:The Carrion Shade and Nightmarrow.
Worst moments of the album: None.
Released in 2019 Hypnotic Dirge Records
Track listing 1. Maple 7:41
2. The Carrion Shade 9:25
3. Nightmarrow 9:34
4. Rustling Leaves 1:45
5. Black Crystal Snowfall 10:57
6. Umbra 3:40
Band members Zachary Smith – vocals, electric and acoustic guitars
Monica Finger – drums, vocals
Tyler Stasierowski – electric guitars, 12-string acoustic guitar
Josh Mason – fretless bass guitar
Guest musicians Matt Greenwood – guest vocals on “Maple” and “Nightmarrow”
Swamp – guest vocals on “Black Crystal Snowfall”
Nicholas Alan – additional lead guitar on “Maple”
Charlotte, North Carolina’s own Metalcore institution returns with a venomous new EP, sounding as heavy, acid and violent as usual.
Owners of the best EP of 2018 as per our humble Top 10 Hard Rock/Heavy Metal Albums of 2018 with their amazing release Come, Heavy Breath, Charlotte, North Carolina-based Metalcore unity Violent Life Violent Death is back in action this year with another heavy-as-hell EP entitled Sadness Rains, highly recommended for admirers of the music by Every Time I Die, Zao and The Dillinger Escape Plan. Furthermore, if there’s one thing that really helps Violent Life Violent Death sound so cohesive from one release to another is their immaculate lineup, still formed by Scott Cowan on vocals, Joseph Benham and Joey Park on the guitars, Justin Campbell on bass and David Holquin on drums, building a solid and interesting connection between albums.
A cinematic intro morphs into the band’s characteristic austere sonority in Choke, with Scott firing his infernal gnarls manically while the rest of the band blasts sheer obscurity and hatred through their instruments, not to mention how Joseph and Joey will pierce your skin deep with their riffs. And it looks like Violent Life Violent Death decided to venture through much darker paths in their new EP, as Love In Violet begins in a mournful, somber way before exploding into high-octane Metalcore led by David’s frantic beats and fills, sounding as sharp and visceral as it can be; followed by the title-track Sadness Rains, another bestial display of modern-day Metalcore and Deathcore that will inspire you to slam into the pit, with Justin’s bass and David’s drums generating a rumbling ambience perfect for Scott to roar like a demonic entity. In Hissing Tongue the band sounds even faster and more demented, with the stringed trio Joseph, Joey and Justin being on absolute fire throughout the entire song, providing Scott all he needs to thrive with his evil vociferations and, therefore, resulting in what’s my favorite of the five songs. And last but not least, Pray concludes the EP with huge dosages of brutality, rage and darkness, with Justin extracting tons of groove form his bass while Joseph and joey fire crystalline but utterly venomous riffs from their axes.
In a nutshell, Sadness Rains, available for a full listen on Spotify, might not be as impactful as Come, Heavy Breath, but it’s just as heavy, vile and aggressive, keeping the band’s core essence burning bright and pointing to a healthy future for this American band that’s already more than just a promise. Having said that, what are you waiting for to follow them on Facebook, subscribe to their YouTube channel and grab your copy of Sadness Rains from their Big Cartel page or from the Innerstrength Records’ BandCamp page, as well as from Apple Music or from Amazon (or simply click HERE for a list of all places where Sadness Rains is available)? Now after a trilogy of ass-kicking EP’s by Violent Life Violent Death it’s time for those talented metallers to release a full-length opus to blow our minds with their rage and electricity, don’t you agree?
Best moments of the album:Love In Violet and Hissing Tongue.
Heavier and more experimental than usual, those masked metallers are back with a fantastic album that proves once again why Heavy Metal is our kind of music.
From the obscure depths of the human psyche, American Alternative Metal horde Slipknot returns after five long years with a brand new album, entitled We Are Not Your Kind, the sixth studio album in the career of those masked marauders and a beyond solid statement by the band saying that, despite all the losses and problems they’ve had in the past decade or so, they can still deliver top-of-the-line metal music for the masses. Produced by Greg Fidelman, who has already worked with several renowned bands like Metallica, Black Sabbath, Slayer and with Slipknot themselves in the albums .5 The Gray Chapter in 2014 and Vol. 3: (The Subliminal Verses) in 2004, We Are Not Your Kind has been described as a heavier and more experimental album than their previous releases featuring moody instrumentals and electronic elements, and the final result is simply stunning.
Not only that, We Are Not Your Kind is the band’s first album since the firing of longtime member Chris Fehn, while the rest of the crew remains the same, with Sid Wilson and Craig “133” Jones on turntables, samples, media and keyboards, Jim Root and Mick Thomson on the guitars, Shawn “Clown” Crahan on custom percussion and backing vocals, Corey Taylor on lead vocals, Alessandro Venturella on bass and Jay Weinberg on drums, not to mention their newest member “Tortilla Man” also on custom percussion and backing vocals, who joined the band for their live performances earlier this year. Jim Root himself said that the album is “the most time we’ve had to write a record, and work stuff out together” and that “while the industry is moving toward singles, Slipknot wanted to make an album experience, front to back.” On a side note, while the title of the album is taken from a line in the band’s standalone single “All Out Life”, released in 2018, that specific song is not featured on the standard edition, but only on the Japanese edition for a reason beyond my knowledge. Well, who cares, right? As long as the music found in the standard edition of the album kicks ass we can live without “All Out Life” despite that being a damn good song.
Insert Coin is one of those fantastic, ethereal intros that transport the listener into the wicked world of Slipknot, before their new anthem Unsainted, featuring the Angel City Chorale, invades our senses, with the thunderous percussion blasted by Jay and Shawn reeking classic Slipknot, all boosted by the sick shredding by Jim and Mick and lyrics that deal with Corey’s fight against depression (“Oh, I’ll never kill myself to save my soul / I was gone but how was I to know? / I didn’t come this far to sink so low / I’m finally holding on to letting go”). Needless to say, I can’t wait to watch them playing this song live next week in Toronto, like what they did on Jimmy Kimmel Live earlier this year. Birth of the Cruel, a mid-tempo tune perfect for headbanging while Corey alternates between his demented clean vocals and harsh roars, is a lot less violent but still creepy and thunderous, with Jim, Mick and Alessandro delivering tons of groove through their strings; followed by the somber bridge Death Because of Death, featuring guest vocalist Kat Primetau, warming us up for Nero Forte, bringing forward a classic fusion of Heavy and Alternative Metal and a great job done by Jay on drums, dictating the song’s pounding rhythm while Corey sounds as crazy as he can be, always supported by smooth but piercing backing vocals.
Critical Darling is an almost-radio-friendly tune by Corey, Shawn & Co., showcasing slashing riffs by the band’s badass guitar duo while Corey gnarls manically, once again supported by spot-on backing vocals which end up making the chorus extremely catchy; whereas in A Liar’s Funeral a cryptic intro morphs into some sort of “new version” of their own dark ballad “Snuff”, suddenly exploding into a neck-breaking sonority with hints of Doom and Sludge Metal, alternating between sheer melancholy and raging madness from start to finish. Then in the magnificent Red Flag we face the most classic version of Slipknot in the album, overflowing insanity, heaviness, fury and that awesome blend of the wicked noises by Sid and Craig with the venomous percussion by Shawn. Hence, this should sound outstanding if played live, not to mention how sharp both guitars and Alessandro’s bass punches sound. Then after the uncanny bridge What’s Next we’re treated to one of Slipknot’s most experimental songs of all time, Spiders, which sounds absolutely addictive, demented and fun, with all its background noises and percussion generating a unique ambience for our avid ears and mind. Put differently, simply relax, sit down and sing the song’s weird lyrics along with Corey, while Jim and Mick deliver short but crushing riffs as the music progresses.
Somber beats and riffs ignite the pulverizing Orphan, presenting the band’s trademark sonority that made them famous worldwide, and with Alessandro and Jay being on fire with their rumbling instruments while Corey’s vocals get utterly deranged, sounding perfect for smashing your skull into the circle pit. The last part of album is comprised of longer-than-usual songs that surpass the 6-minute barrier, starting with the very experimental My Pain, presenting an eerie atmosphere created by Sid and Craig and low, pensive vocalizations; however, the music never gets as heavy or fast as we’re used to, making me wonder if fans of classic Slipknot will enjoy it. Anyway, that eccentric vibe goes on in Not Long for This World, where Corey and the band’s electronic duo Sid and Craig set the tone before the rest of the band comes ripping with their acid instruments, bringing to our ears a beautiful melody and rumbling bass lines, with its creepy ending building an instant connection with Solway Firth, a circle pit-catalyst showcasing scorching riffs by Jim and Mick and endless electricity flowing from Jay’s beats, while Corey declaims the song’s austere words in great fashion (“I’m not ahead of my time- I just drew the first breath – If I’m alive tomorrow / I will alleviate the pressure… by cutting you out of me / I found my bottom line – dead on the front lines- I know I’ll never go home / So set fire to your ships and past regrets and be free”). And lastly, as aforementioned, All Out Life might be only present in the Japanese edition of the album, but it’s such a great song, perfect for slamming and screaming its lyrics together with the band (like you can see on their performance on Jimmy Kimmel Live), it makes the investment in this version of the album totally worth it.
In a nutshell, one of the most innovative and influential bands of modern metal music from the past 20 years, the one and only Slipknot, managed to deliver a fantastic album against all odds, proving once again that there’s nothing better than adversity to makes us (and, in this particular case, the entire band) stronger and more focused. Having said that, I highly recommend you grab your copy of the album, as well as other well-crafted merch, from the Slipknot Official Store, and buy your ticket for the Knotfest Roadshow when the band invades your city with their chaotic and rebellious anthems. We Are Not Your Kind might sound a bit too experimental or modern for some people, but I’m pretty sure most fans of contemporary heavy music will have a very good time listening to this multi-layered and very dense album. And whenever you catch yourself screaming “we are not your kind!” together with Corey and the guys, you’ll be at the same time showing everyone Heavy Metal is and will always be YOUR kind of music.
Best moments of the album:Unsainted, Red Flag, Spiders, Orphan and All Out Life.
Worst moments of the album:My Pain.
Released in 2019 Roadrunner Records
Track listing 1. Insert Coin 1:38
2. Unsainted 4:20
3. Birth of the Cruel 4:35
4. Death Because of Death 1:20
5. Nero Forte 5:15
6. Critical Darling 6:25
7. A Liar’s Funeral 5:27
8. Red Flag 4:11
9. What’s Next 0:53
10. Spiders 4:03
11. Orphan 6:01
12. My Pain 6:48
13. Not Long for This World 6:35
14. Solway Firth 5:56
Japanese Edition bonus track 15. All Out Life 5:40
Band members (#0) Sid Wilson – turntables, keyboards
(#4) Jim Root – lead and rhythm guitars
(#5) Craig “133” Jones – samples, media, keyboards
(#6) Shawn “Clown” Crahan – custom percussion, backing vocals
(#7) Mick Thomson – lead and rhythm guitars
(#8) Corey Taylor – lead vocals
Alessandro Venturella – bass
Jay Weinberg – drums
Guest musicians
Angel City Chorale – choral performance on “Unsainted”
Kat Primetau – additional vocals on “Death Because of Death”
The debut album by this American quartet is an obscure fusion of black, industrial, punk and electronic, and you’ll simply love this style known as “Electro Black”.
Featuring members and ex-members of bands like Abominant, Fatal Step, Astrum Empyrean Asunder, Absence of Faith, Märcoda and Assisting Sorrow, the Louisville, Kentucky-based four-piece Industrial Black Metal entity known as The Promise Of Plague is back in 2019 with their debut full-length opus entitled The Tomb Of Lost Lovers, a huge step forward for the band in terms of creativity, strength and overall sound production compared to their 2016 demo Sleepwalking Into Armageddon. Comprised of Jim Higgins and Ashley Vega on vocals, Jerry Barksdale on guitars, keys and programming, and Chris Dalton on bass, The Promise Of Plague play an obscure and piercing fusion of Black and Industrial Metal infused with Punk Rock and electronic elements, or as some people like to say, they play a fairly new style called “Electro Black”.
And their Electro Black becomes already crystal clear in the opening track You Became My Noose, ignited by cutting guitars and electronic beats intertwined with whimsical keys, with Jim alternating between demonic roars and clean, anguished vocals and also presenting symphonic nuances in the background as a welcome add-on. Tim keeps gnarling in great Black Metal fashion in The Quiet, while Jerry slashes his guitar and Ashley brings some finesse to the music with her vocals in a short and sweet display of modern Industrial Black Metal; followed by These Stones Were Meant To Be Thrown, where its imposing and rockin’ vibe reminds me of the primeval days of the unparalleled Cradle of Filth. Furthermore, Jerry and Chris are ruthless with their stringed weapons, while Jim and Ashley make an amazing duet once again exhaling anger, passion, melancholy and darkness from their vocal lines, sounding at the same time furious and doomed. And what can I say about their cover version for Venom’s Warhead? It’s just as raw and infernal as the original one released in 1984 (check it out HERE), showcasing a great job done by Jerry with his scorching hot riffs and the hints of Doom Metal added to the musicality to make it more demonic.
Then leaning towards the classic Doom Metal played by Black Sabbath and Celtic Frost we have Insolent, sounding and feeling considerably different from the previous songs of the album and presenting another spot-on performance by both Jim and Ashley on vocals. In other words, it’s dark, heavy and damned, ending in the most melancholic and beautiful manner you can think of. Chris’ low-tuned bass lines fill every empty space in the somber Mine Is A Place Called Hell, where Ashley’s clean vocals make a very interesting paradox with Jim’s hellish screeches in what’s perhaps the most electronic of all songs, perfectly depicting what Electro Black is all about. And lastly, the title-track Tomb Of Lost Lovers is a rumbling and dancing hybrid of classic Black Metal with electronic music, with Jerry bringing tons of epicness with his keys. Not only that, it should work really well at a dark electro party, with all band members delivering sheer aggression and electricity form their respective instruments.
I guess after reading this humble review of The Tomb Of Lost Lovers you got really curious about what Electro Black is, right? If your answer is yes, go check what The Promise Of Plague are up to on their official Facebook page, and grab your copy of the album directly from the band’s own BandCamp page. In a nutshell, The Promise Of Plague might not be reinventing the wheel with their fusion of metal and non-metal styles, but they have certainly unleashed an interesting and entertaining beast of heaviness, fury and darkness with their debut album, pointing to a very healthy future for the quartet and, who knows, inspiring more underground musicians who are starting their careers in heavy music to venture through the realms of Electro Black, a subgenre of metal that will never go mainstream without any doubt, and we’ll always love it that way.
Best moments of the album:These Stones Were Meant To Be Thrown and Insolent.
Worst moments of the album: None.
Released in 2019 Independent
Track listing 1. You Became My Noose 3:54
2. The Quiet 1:53
3. These Stones Were Meant To Be Thrown 4:38
4. Warhead (Venom cover) 3:03
5. Insolent 5:44
6. Mine Is A Place Called Hell 3:18
7. Tomb Of Lost Lovers 3:50
Band members Jim Higgins – vocals
Ashley Vega – vocals
Jerry Barksdale – guitar, keys, electronics
Chris Dalton – bass
A pulverizing album of Technical and Progressive Death Metal by a ruthless Bay Area triumvirate, dealing with the human tendency to struggle with the acceptance of mortality and our limited time on earth.
Formed in 2011 in the renowned Bay Area, in the state of California, United States, Progressive/Technical Death Metal trio Inanimate Existence returns in 2019 with a brand new opus entitled Clockwork, the follow-up to the group’s highly praised fourth album, Underneath a Melting Sky, released in 2017. Featuring a futuristic and whimsical cover art by by Justin Abraham (who has already worked with bands like Equipoise, Aepoch and Oubliette), with additional artwork by Mark Erskine (from Erskine Designs), recorded by Inanimate Existence and Zack Ohren, and mixed and mastered by Zack Ohren at Shark Bite Studios in Oakland, California, Clockwork delves deeper into cerebral Progressive Death Metal depths, while buoyed by the group’s established penchant for merciless full-throttle brutality and frenetic tech-death driven terrain.
And the band comprised of Cameron Porras on vocals and guitar, Scott Bradley on bass and backing vocals, and Ron Casey (Continuum, Brain Drill) on drums had a few nice words to say about their newborn spawn. “We’re thrilled to finally be able to share our 5th studio album with all of you! This is definitely the most work we have ever put into an album by a long shot. Sound wise I’d say that it’s a continuation of our last album but much more polished and mature,” commented the band, describing Clockwork’s thematic focus as “dealing with the human tendency to struggle with the acceptance of mortality and our limited time on earth. It explores the questions we torment ourselves with during life along with the irony of how small and insignificant we are in the grand scheme of the universe. The title refers to the mechanisms of a clock and how every tick brings you closer to your doom.”
The trio begins firing their fusion of insanity and progression mercilessly in the title-track Clockwork, with Ron dictating the rhythm with his furious beats while Cameron brings a touch of delicacy to the music with his guitar riffs and solos, sounding at the same time devastating and very melodic; whereas in Voyager we’re treated to lyrics that exhale insanity (“Isolated, trapped inside the capsule / I fear that I may now be on my own / My crew have perished, and I am alone / Orbiting beyond the atmosphere / My communications are down and the power is cut / I gaze back to the Earth / Wondering, will I be remembered?”), with the music bringing elements from smoother styles like Jazz while Scott extracts sheer thunder from his intricate bass lines. This talented American triumvirate keeps smashing our senses with their vicious Progressive Death Metal attack in Apophenia, as complex and pulverizing as possible, sounding as if the almighty Krisiun went full progressive at times, offering to the listener several neck-breaking moments led by Ron’s insane drumming; and their metal extravaganza goes on in Desert, with all three member firing wicked and intricate sounds and tones from their respective instruments. Put differently, it’s straightforward Progressive Death Metal with a vibrant atmosphere, not to mention Cameron’s sick solos adding some welcome lunacy to the overall result.
In Solitude the band offers us pensive and modern lyrics (“I return to solitude / Where once again I contemplate / What my purpose is inside this burdensome reality / I return to solitude / Where once again I contemplate / What is my purpose?”), while its instrumental parts are absolutely mental, with both Cameron and Ron crushing their weapons nonstop, followed by Diagnosis, where the band continues to slash our ears with the modernized and very complex version of Death Metal. Moreover, the bass lines by Scott sound insanely heavy and metallic, with the music also bringing interesting eerie passages and breaks (despite going on for a bit too long). Then back to a more demonic and infuriated mode we have Ocean, blending the most violent and thrilling elements from Progressive and Death Metal with Ron sounding infernal on drums, therefore providing Cameron the perfect ambience for gnarling deeply and rabidly, once again presenting spot-on melodic and ethereal passages. Lastly, Liberation closes the album with more of the dynamic, electrifying sounds from the depths of the human psyche by the trio, with Scott and Ron bringing thunder to the musicality while Cameron keeps delivering harmonious riffs and solos while growling like a beast until the song’s visceral ending.
You can have your brain shredded into pieces by listening to Clockwork in its entirety on YouTube and on Spotify, and after being stunned by Inanimate Existence simply go check what they’re up to on their official Facebook page, including their tour dates, and purchase your copy of their brand new opus from their BandCamp page, from The Artisan Era webstore (in several exclusive formats and bundles), from Apple Music or from Amazon. As aforementioned, the band itself said that we all struggle with the concept of mortality and our limited time on this planet, which means we should not waste too much time thinking but enjoying some good, destructive and complex Death Metal while we’re alive, with Clockwork being an excellent choice for that.
Best moments of the album:Voyager, Desert and Ocean.
Accept hopelessness and succumb to the brand new opus by this unknown entity from the Pacific Northwest, picking apart your psyche and destroying your seasonal optimism with their oppressively bleak atmosphere.
Since their introduction in the spring of 2017, the enigmatic and anonymous Atmospheric/Depressive Black Metal unity NONE, from Portland, Oregon, in the Pacific Northwest, has crafted disturbing and emotionally devastating music that have garnered the attention of many listeners of the genre. After having released their self-titled debut opus on April 11, 2017, a thick shroud of piercing guitar interwoven with haunting synth and tortured vocals marching in despair towards an empty void, followed by Life Has Gone On Long Enough exactly one year later, on April 11, 2018, developing its tortured personality further, NONE returned this spring like clockwork, once again on April 11, with their brand new effort entitled Damp Chill of Life, weaving visionary soundscapes with first-class Depressive Black Metal, picking apart your psyche and destroying your seasonal optimism with their oppressively bleak atmosphere.
As atmospheric and cold as possible, the intro Fade embraces our souls in darkness and sets the tone for the chilling and piercing sounds from the 10-minute aria The Damp Chill of Life, with its Doom Metal beats, melodic riffs and an ethereal background generating the perfect ambience for NONE’s desperate, raspy gnarls. In other words, this is a lesson in Depressive Black Metal, alternating between serene passages and aggressive and dense riffs and vociferations, and flowing majestically until its melancholic ending. Cease also begins as mournful as a lonely morning in the woods, with the music exploding into the most Stygian form of Atmospheric Black Metal you can think of after four minutes of pure serenity, all enfolded by beautiful piano notes and anguished vocals, once again showcasing a touching finale and building an instant connection with You Did a Good Thing, where the uncanny duo delivers more of their delicate but at the same time crushing music. Furthermore, eerie voices exhale anger, despair and the feeling of loss, matching flawlessly with the music to give the listener a true and deep melancholic taste.
It’s Painless To Let Go brings forward another visceral hybrid of Depressive and Atmospheric Black Metal, this time infused with Doom Metal and Blackened Doom nuances, with the duo delivering somber guitar lines, creepy vocals and endless obscurity for our total delectation; whereas I Yearn to Feel is a semi-acoustic composition by NONE that will penetrate deep inside your mind and take you on a journey through vast, gelid lands, always led by crystalline piano notes and showcasing an enfolding aura. And the music remains bold and inspiring, reverberating into A Chance I’d Never Have, beginning with acoustic guitar lines and growing in intensity and fear until an avalanche of dark and crisp sounds invades our ears. In my humble opinion, this is perhaps NONE’s record with the most introspective vocal lines, and this song is the perfect depiction of that, with its second half offering the listener sheer melancholy and rage in the form of top-of-the-line contemporary Depressive Black Metal.
I’ve already had the utmost pleasure of reviewing all albums released by NONE since the inception of such idiosyncratic and mysterious entity, and I must tell you NONE definitely know how to transform all the solitude, wilderness and bitterly cold winds of the Pacific Northwest into the best Depressive and Atmospheric Black Metal one can ever imagine, showing how connected they are with their homeland. Hence, you should take a good listen at Damp Chill of Life in full on YouTube (especially on your loneliest days), and grab your copy of such bitterly cold album of extreme music from the Hypnotic Dirge Records’ BandCamp or webstore (by the way, you can find all special bundles of the album and all of NONE’s previous releases by clicking HERE), as well as from Apple Music, Amazon, CD Baby or Discogs. Simply succumb to the music by NONE, accept hopelessness, and finally realize you are no one, nowhere, and nothing.
Best moments of the album:The Damp Chill of Life and It’s Painless To Let Go.
Worst moments of the album: None.
Released in 2019 Hypnotic Dirge Records
Track listing 1. Fade 1:58
2. The Damp Chill of Life 10:30
3. Cease 8:50
4. You Did a Good Thing 5:08
5. It’s Painless To Let Go 5:56
6. I Yearn to Feel 3:45
7. A Chance I’d Never Have 7:57
Band members Anonymous – vocals
Anonymous – all instruments
Witness the evolution of the music crafted by the Cox Brothers with their pulverizing new album of Progressive Death and Groove Metal.
Founded in New York City by brothers Rex Cox and Zak Cox, who share the band’s vocal and guitar duties, American Progressive Death/Groove Metal unity Uncured has been making a name for themselves since their inception in 2016 when they released their debut EP Spontaneous Generation, followed by their first full-length opus Medusa, released in 2017, which attracted international attention for its combination of technical musicianship, brutal riffs and melodic interludes. After witnessing Uncured opening for renowned acts like Soulfly and the almighty Cradle of Filth last year while promoting their 2017 album Medusa, I’m happy to say those guys stepped up their game considerably with their brand new album, the powerful Epidemic, proving that although they might still be young faces in the scene, they already play and sound like veterans.
Recorded, mixed and mastered by their father Mitch Cox at Conclave Studios, in New York, Epidemic has everything a fan of modern and technical extreme music can ask for, with its crystal clear production enhancing the impact of each song thoroughly played by the aforementioned Zak and Rex on vocals, guitars and bass (as their current bassist Spencer Metela only joined the band after the recording of the album) and Liam Manley on drums. The only thing I don’t understand is why they left the excellent 2018 single Terminal out of the album, but that’s just me. And besides, who said Epidemic needed that song to be brutal? I’m pretty sure the boys know what they’re doing, and based on the feedback provided by their fans so far they’re undoubtedly on the right path to stardom with Epidemic.
The opening track Desecration is fast, furious and heavy from the very first second, with the Cox Brothers showcasing all their refined skills with their sick riffs and solos while Liam smashes his drums beautifully in a powerful display of modern Progressive Death Metal, sounding at the same time very technical and visceral. If that was not crazy enough for you, in Choke they take their progressiveness to the next level, and let me say both Zak and Rex are growling and screaming a lot better than in their previous releases, adding tons of rage and insanity to the song’s lyrics (“Tear your throat out / Reject everything from within / This is imperative, all will go black / The problem lies in the silence / There will be nothing that remains, only desolation / As our civilization reverts to dust / This will surely desecrate honor”), whereas in Conquistador the band drinks from the same fountain as modern-day bands like Trivium, delivering flammable riffs and intricate beats and also exploring new grounds by adding acoustic passages and distinct nuances from other metal and even non-metal genres to their music.
Eradicate is another feast of incendiary riffs and solos by Uncured highly recommended for slamming into the pit during their live performances, blending Melodic Death Metal with Groove Metal and an endless amount of progressiveness; followed by Death Valley, where after a serene intro the band comes crushing once again with their groovy and heavy-as-hell sounds, sounding perfect for cracking your neck headbanging and remaining as complex and vibrant as it can be until the very end. And in Resist The Infection all instruments sound absolutely pulverizing and metallic, with Zak and Rex screaming and roaring together like maniacs while Liam keeps the rhythm flowing smoothly with his beats. Put differently, although it might be the shortest of all songs, it still brings tons of stamina, feeling and rage to our avid ears.
The last batch of songs from Epidemic will crush you mercilessly, starting with Sacrifice, a classic Groove Metal tune infused with Death Metal nuances where its guitars and bass penetrate deep inside our minds, making our heads tremble. Furthermore, it feels like a hybrid of the music by Meshuggah, Tool, Dream Theater and other iconic bands, showing once again how talented those guys are. Albeit not as exciting as its predecessors, Stone Fortress is still a very good song, overflowing progressiveness, heaviness and groove, not to mention the usual crisp and piercing guitar lines by the band’s frontmen, while in Blinded By Demise the level of aggressiveness goes through the roof in another metal feast full of breaks and variations where all three band members display their refined skills in great fashion. And last but not least, after a somber, almost tribal intro Uncured attack us all one last time with more of their Progressive Death Metal in Nothing But Disease, with the music alternating between dark passages and extreme rage like the soundtrack to a psychological horror movie, ending in a creepy and captivating way.
There’s no excuse to not listen to Epidemic, as the album is available in full on YouTube, on Spotify and on the band’s official website, and after taking a good listen at it you can purchase your copy from their own BandCamp page or from their webstore in CD or vinyl format, as well as from iTunes or from Amazon. In summary, the Cox Brothers, together with Liam and Spencer, are definitely going places based on the high quality of the music found in Epidemic, presenting a huge step forward in terms of creativity, feeling and overall production after the also good Medusa. Having said that, don’t forget to follow them on Facebook and to subscribe to their YouTube channel, as we might be in front of the next big name from the modern extreme music scene with a long (and prosperous) way to go yet in their promising career.
Best moments of the album:Desecration, Eradicate and Resist The Infection.
Worst moments of the album:Stone Fortress.
Released in 2019 Seek & Strike
Track listing 1. Desecration 4:12
2. Choke 4:19
3. Conquistador 4:45
4. Eradicate 5:07
5. Death Valley 4:47
6. Resist The Infection 2:51
7. Sacrifice 4:04
8. Stone Fortress 4:07
9. Blinded By Demise 4:45
10. Nothing But Disease 4:26
Band members
Zak Cox – vocals, guitars, bass
Rex Cox – vocals, guitars, bass
Liam Manley – drums
Although my drive from Toronto to Ottawa on Thursday was a complete shit due to the nasty rain and all the trucks spraying tons of water on my windshield, that didn’t turn my energy level down not even a bit for the concert that was about to happen on Friday. I was really pumped to see what’s probably the best modern Rock N’ Roll bands available out there, the almighty Volbeat and the incendiary Godsmack, kicking some serious ass on stage at Richcraft Live (I honestly have no idea what that name means) at the Canadian Tire Centre. It was my first time at that venue and I must say it’s indeed a great place to watch a concert or a sports event, but unfortunately getting there is not that easy unless you drive, take a taxi or Uber to the venue, which ends up inflating the parking costs considerably.
Anyway, fans were still arriving at the venue when Los Angeles-based Hard Rock act STITCHED UP HEART began their short but effective performance, spearheaded by the beautiful Mixi on vocals. If you have no idea about what type of music Stitched Up Heart play, let’s say it’s a fusion of the contemporary Hard Rock played by Godsmack with Evanescence and Marilyn Manson, and the final result is very entertaining. It was a beyond solid warm-up for the main attractions of the night, and a very good welcome card from the band to us fans of rock music here in Canada, as I don’t actually remember seeing them anywhere around here before this tour opening for Volbeat and Godsmack. In other words, go to their official website for more information about the band, where they’re playing, where to buy their music, and so on, as those guys (and girl, of course) are definitely worth a shot.
Setlist This Skin
Warrior
Catch Me When I Fall
Darkness
Straightjacket
Finally Free
Lost (feat. Sully Erna)
Band members Mixi – vocals
Merritt – guitar
Randy – bass
Decker – drums
After a short break, and with the Canadian Tire Centre already occupied by thousands of fans from different parts of Canada and the United States, it was time for Danish rockers VOLBEAT to bring to Ottawa their undisputed Rock N’ Roll infused with Heavy Metal nuances, proving once again that Copenhagen-based quartet is not one of the biggest names in the current Rock N’ Roll scene in vain. Still promoting their 2016 album Seal the Deal & Let’s Boogie, but just about to release a brand new album (for our total delight), the band comprised of Michael Poulsen on vocals and rhythm guitar, Rob Caggiano on lead guitar, Kaspar Boye Larsen on bass, and Jon Larsen on drums set the venue on fire with their fast and melodic riffs and beats, and of course, endless electricity (despite the fact that Mr. Poulsen was visibly fighting some sort of cold or flu).
From the first few notes from the excellent The Devil’s Bleeding Crown to the closing moments from the already classic Still Counting, Volbeat delivered what’s expected from them, inspiring all fans from the floor section to ignite some fun (and furious) circle pits, especially during their most metallic songs such as A Warrior’s Call, 16 Dollars, Doc Holliday and Seal the Deal. Also, I think I’ve already mentioned this before, but it’s always impressive to witness how powerful and precise Mr. Caggiano is on the guitar, elevating the band’s sonority to new heights since entering the band in 2013. In addition, one song that I was extremely happy they played was Hallelujah Goat, one of my favorite Volbeat songs of all time due to its energy and heaviness, potentialized by Rob’s amazing technique and feeling. And before I forget, the band also played a brand new song for the first time ever in Ottawa, the 40-second Punk Rock tune Parasite, which albeit being extremely short it was well received by all fans who were paying attention at the moment, because you know, 40 seconds are not enough not even for a quick bathroom break. In a nutshell, I know that I just saw Volbeat live and that I’ll see them again with Slipknot, Gojira and Behemoth soon here in Toronto, but they’re so good live I cannot wait, and besides, their concerts are never long enough for them to play all of their classics.
Setlist The Devil’s Bleeding Crown
Lola Montez
Sad Man’s Tongue (with Ring of Fire intro)
A Warrior’s Call / I Only Want to Be With You
Let It Burn
Black Rose
Parasite
16 Dollars
Dead but Rising
Fallen
Hallelujah Goat
Marie Laveau
Doc Holliday
Seal the Deal
Still Counting
Band members Michael Poulsen – vocals, rhythm guitar
Rob Caggiano – lead guitar
Kaspar Boye Larsen – bass guitar
Jon Larsen – drums
It was close to 9:45pm when the lights went out, a fun mashup of classic rock songs started playing from the amps, and finally GODSMACK hit the stage with their unique mix of Alternative Rock and Heavy Metal. I confess I don’t think their 2018 album When Legends Rise is one of their best efforts to date; quite the contrary, it’s relatively weak compared for example to their previous album, the fantastic 1000hp, released in 2014, but Sully Erna and his henchmen are so amazing in what they do they managed to turn all of the songs they played from their new album, those being When Legends Rise, Say My Name, Unforgettable, Under Your Scars and Bulletproof, into truly amazing moments of their performance. By the way, as explained by Sully during the concert, inspired by their own song Under Your Scars, Godsmack have recently founded The Scars Foundation to help raise awareness of the mental health issues that so many are faced with today. Needless to say, donate and show your support to such important and noble cause.
Getting back to the concert, I have to say that even if they played bad music the whole thing would still have been at least great, as all the fire and other special effects on stage added a lot of energy to their performance. But, of course, Godsmack do not play bad music, and fantastic songs like 1000hp (my favorite of the night), Cryin’ Like a Bitch and Whatever put a huge smile on the faces of every single fan watching their concert. Furthermore, there were three very distinct moments that let’s say “surprised” most fans due to their uniqueness, those being their dark and enthralling performance of their all-time hit Voodoo, the interesting Batalla De Los Tambores (or “battle of the drums”, if you know nothing in Spanish) between Sully and the extremely talented drummer Shannon Larkin, and the Rock N’ Roll party established on stage when Rob Caggiano and the entire Stitched Up Heart joined them on stage for a cover version of AC/DC’s classic Highway to Hell.
In the end, after Godsmack played their heavier-than-hell hit I Stand Alone, all fans left the Canadian Tire Centre extremely satisfied, hoping the band doesn’t take another abysmal time to return to Canadian soil. On the other hand, if you live in Canada and missed Godsmack, I feel really sorry for your soul. A band like that is always busy, always touring the world, and they don’t have a lot of empty spot to fill out with Canadian dates. Well, don’t cry like a bitch if you missed it, simply stay tuned to their upcoming tours and do like the rockin’ citizens from Ottawa, whenever you hear the words “Volbeat” or “Godsmack”, put on your black shirt, you leather jacket and get ready to rumble like there’s no tomorrow with one of the best and most electrifying bands of the not-so-new generation of rock and metal music.
Setlist When Legends Rise
1000hp
Say My Name
Keep Away (Moon Baby Outro)
Cryin’ Like a Bitch
Awake
Unforgettable
Something Different
Voodoo
Batalla De Los Tambores
Whatever
Encore:
Under Your Scars
Bulletproof
Highway to Hell (AC/DC cover)
I Stand Alone
Band members Sully Erna – vocals, guitar
Tony Rombola – lead guitar
Robbie Merrill – bass
Shannon Larkin – drums
In the spring of 2018, five Southern California musicians (Nathan Spades on vocals, Kyle Ort and David Bruno on the guitars, Eric Sinful on bass, and Dylan Roy on drums) came together to form a new band with the ability to seamlessly transition from crushingly heavy riffs to unforgettably haunting melodies and lyrics, leaving their respective project behind. That band is Hard Rock/Alternative Metal unity Dark Station, who are ready to unleash upon us their debut album entitled Down in the Dark, poised to cement the band’s name as a commendable force in the rock world. Put differently, get ready for an overdose of heavy riffs, groovy sounds, soaring vocals and electrifying passages by five talented guys who are among us to prove once and for all that modern rock music is alive and kicking.
Leaning towards the most contemporary form of American Alternative Rock and Metal, Misery is a great option to be part of a soundtrack for hitting the road, with all instruments filling every single space in the air, therefore providing Nathan all he needs to thrive on vocals. Ghost keeps the album at a high level of adrenaline, flirting with Industrial Rock and Metal but keeping the band’s core essence intact. Not only that, Eric and Dylan make a very effective dynamic duo, bringing thunder to the music with their instruments; and modernized, metallic sounds keep permeating the air in Locked On, with its background futuristic touch helping enhance the impact of each instrument considerably, especially the guitars by Kyle and David alternating between more serene moments and razor-edged sounds. As their final blast of Alternative Metal, we’re treated to more of the band’s radio-ready rockin’ music in the form of Visions, where slashing riffs are powerfully complemented by the crushing bass by Eric and Dylan’s rhythmic beats, ending in a desperate and captivating way.
THE HEADBANGING MOOSE 