Wolfchant - Embraced By Fire Review

Track Listing:

1. Devouring Flames
2. Embraced By Fire
3. Element
4. Turning Into Red
5. Einsame Wacht
6. Autumns Breath
7. Freier Geist
8. Winters Triumph

Like previous Wolfchant albums, Embraced By Fire creates an epic atmosphere of galloping beats. The title track is a valiant, undaunted effort, guiding the listener further into the album, employing a mix of both harsh and clean vocals. ‘Element’, ‘Einsame Wacht’ and ‘Freier Geist’ are all sung in German, with the perceived harshness of the German language to a non-German speaker still seeming to fit with the music itself. 

‘Turning Into Red’ has a very folk sounding introduction, although it could do without the same lines being repeated in both clean and harsh vocals in some verses. Other verses in the same song actually work well with clean vocals, momentarily working to slow the tempo. Occasionally throughout the album, one can catch snippets of symphonic influence. ‘Autumns Breath’ emerges as the standout track, perhaps because of an incredibly catchy and shout-able chorus that sticks with listener for days. ‘Winters Triumph’ closes on a simpler note, in which the song structure feels more natural. Overall, while Embraced By Fire isn’t a bad album, Wolfchant has released stronger efforts in the past. 

Månegarm - Legions Of The North Review

Track Listing:

1. Arise
2. Legions Of The North
3. Eternity Awaits
4. Helvegr
5. Hordes of Hel
6. Tor Hjälpe
7. Wake The Gods
8. Vigverk
9. Sons Of War
10. Echoes From The Past
11. Fallen
12. Forged In Fire
13. Raadh

Released in early July, Legions Of The North is Månegarm’s eighth studio album. Much less known than some of their contemporaries in the viking/pagan metal genre, Månegarm have proven themselves as innovators. In a departure from previous albums, the majority of the tracks on Legions Of The North are comprised of lyrics in English, which, in this case, actually works brilliantly. (‘Raadh’ is the only song sung in Swedish, with both male and female vocals).

The album opens with the instrumental ‘Arise’, leading into the much heavier title track. Folk-influences are obvious, mixed perfectly with the heavy stylings that one expects from the viking/pagan metal genre. Catchy melodies abound on this album, allowing for plenty of head-banging and creating the urge to shout along. Lyrical themes are aptly previewed by the album title itself, generally consisting of anthems of vengeance, battle, death and solidarity. ‘Wake The Gods’ is frantically fast, calling for a return to the pagan past, and a battle cry to bring back the wisdom of yesteryear. Legions Of The North is broken by the instrumental tracks ‘Helvegr’ and ‘Vigverk’, although broken may not be an appropriate descriptor, as the instrumental songs fit seamlessly into the album as a whole. The relatively clean vocals on ‘Sons Of War’ add to the song, making it a powerful anthem. The addition of the female vocals on ‘Echoes From The Past’ creates a sentiment that could not have been expressed as perfectly if they were left out, again demonstrating that this band has a vision and has mastered its execution. 

Reminiscent of fellow Swedish artists Amon Amarth and Unleashed, Månegarm adds a signature flavor to their music that is difficult to pinpoint, but is definitely noticeable. Legions Of The North is undeniably a vigorous, heavy hitting album, made more accessible due to the mostly english lyrics. It’s well worth a listen. 

Månegarm has also very recently released the video for 'Sons Of War':

http://www.youtube.com/watch?v=cfOBpMpYAxc

Metal By Country

Out of curiosity, I decided to do a quick analysis of which countries the metal artists contained on my computer come from. I only included artists that are, for the most part, definitively considered to be metal. I did not take into account owning (or at least having in the house) multiple albums from artists, as there are several on the list in which I have more than one album.

After looking at the number of artists by country, I decided to take a look at the number of albums by country that I have. The distribution is relatively the same, with the exception of the United States.

Shared List of The 10 Best Folk Metal Bands

http://blogs.ocweekly.com/heardmentality/2013/12/the_10_best_folk_metal_bands.php

It seems that this particular blog entry has been shared quite a bit recently, so I thought I’d take a look for myself. While everyone is going to have some level of disagreement over ‘best of’ lists, this one leaves me a little puzzled. Like every other writer, and music lover, I tend to have opinions that do not necessarily agree with the opinions of others. 

There are a few bands appearing on this list that I would not put into the category of folk metal. Ulver seems to be a weird choice, especially when the author notes that they’ve created a hybrid that includes almost every sub-genre but folk metal. Just because you have cellos or ambient drums does not make you a folk metal band. Agalloch is another that I wouldn’t classify as being an example of folk metal. Sure, they incorporate several different subgenres, and much like Ulver, have sampled many different influences. Are they folk metal? I wouldn’t say so. Blackguard really does not strike me as folk metal either. I’ve seen Blackguard live numerous times with bands that are both folk metal, and bands that are more death or thrash influenced. While they fit somewhere in the middle, I would not use them as an example of folk metal.

With a ‘ten best’ list, you have to quite selective. The title suggested that I would find examples of folk metal upon reading the list. While there are some legitimate examples of what one tends to consider folk metal, there are a few that make me question the choices on the list. There are so many other bands that are much more distinctly folk metal than Agalloch, Ulver and Blackguard that including them to exemplify the sub-genre seems misguided. The other bands on the list are what most would likely consider folk metal, albeit being some of the most popular, well known bands of the genre. 

I always like reading ‘best-of’ lists and contemplating why I either agree or disagree with the choices. Maybe I should just write my own list of 10 Best Folk Metal Bands. 

(Insert Number) Best Albums of the Year

Just a quick thought...

When I see these lists of the best albums of the year, I often wonder how you can have enough time to sit and actually absorb the material on each album. I would assume that whomever is composing these does not pay for each and every album, because when I see lists of the '100 Best Metal Albums of the Year', I begin to wonder how this is even possible.

I know I certainly couldn't find the time to listen to and review that many albums without shirking every other responsibility I might have! Nor could I find anywhere near the level of spare cash required to buy that many albums in a year...

The difference between a hobby and a career? Probably.

Concert Photography: A Dying Art?

A piece that is purely my opinion, and thrown together in a short amount of time. Take from it what you will. 

Is concert photography becoming a lost art? I find myself pondering that question every time a myriad of pictures appears from any live show I’ve attended (or any other show, for that matter). It’s relatively easy to find pictures from almost any event or show now, posted online for the entire world to see. The quality ranges from absolutely awful to professional. 

‘Professional’ photography seems to have different defining characteristics now than it did before the rise of and the popularity of digital cameras. Sure, digital cameras have made taking pictures simple. Compared to film, you can store a ridiculous amount of photos on a simple memory card. So why not take a thousand pictures, hoping for a handful of truly excellent ones? If you don’t get any fantastic pictures, not to worry, any number of photo-editing programs can come to the rescue. With the advances in technology in recent years, anyone can become a ‘professional’ photographer. 

On one hand, there’s nothing wrong with this. I’ve seen some great photos, and some really creative ideas emerge using available technologies. Things that would have been very difficult, or impossible, to do using film. In terms of photography for the sake of capturing a moment in time, digital cameras and phone cameras have made it ridiculously simple for the average person. Cell phone cameras have made leaps and bounds in the last few years, although personally I’d rather use an actual camera to capture whatever I’m trying to capture. Even professional level photography equipment is readily available, and although somewhat expensive, still affordable if one prioritizes correctly. Some photo editing software is relatively easy to use, and simple photo editing is built into cameras and standard computer photo programs. Perhaps this is starting to paint a picture of why the true art of concert photography is on it’s last legs...

Photography in general can still be considered an art form, but I do not consider it nearly as much of an art form as before cameras went digital. Anyone who has actually used a film camera knows that unless you wanted to spend a lot of money developing a lot of pictures, or spend a lot of time changing film rolls that you could easily ruin by simply opening the camera, you had to spend a little bit more time considering the shot you wanted to take. Personally, I’m a lot more proud of most of the photos I’ve taken using a film camera than I am of the vast majority of photos I’ve taken using digital cameras. It’s not as exciting to instantly have the photos available. Something has been lost in no longer having to wait to get film developed and finally seeing the results. Developing one’s own film, and watching an image slowly come to life, instead of merely clicking a button, had something inherently rewarding about it. Sure, it was easy to screw up, and you might not always get the results you wanted, but that was part of it. Film just seems to have a more organic appeal, although this is quickly being lost in a society that doesn’t value things that don’t come instantly. 

Will we really get those truly iconic concert photos anymore? Those live photos of bands like Led Zeppelin and The Who? It’s still possible to find great concert photography. While still possible, it seems that it’s lost the edge that it once had. It’s easy to make a photo polished after the fact. It’s easy to digitally adjust any number of factors that couldn’t be so easily adjusted before. It’s relatively easy for anyone to become a great photographer. That in itself seems sad. On one hand, it’s fantastic for the average person. On the other hand, it signals the end of an art form in which not everyone had the skills readily available at their fingertips to create something great. 

Personally, I’ve generally quit attempting to take live concert photos. If my camera makes an appearance, it’s to capture moments with friends, or perhaps to get a picture with a band member. Granted, I do not have professional photography equipment, nor do I have the photo editing skills to make it appear that I do. When I take pictures, it’s for my own reasons. Not for the disillusionment that I can become a professional photographer, or that any photos I take are of a ‘professional’ quality. 

With that being said, I’m still struggling to understand the ban that has been placed on photography at some venues, or for certain shows. (Unless of course, you have a photography pass and a professional quality camera). What’s the point in placing a ban on point and shoot cameras? I’ve run into it countless times upon attempting to bring my point-and-shoot into shows, and have often rudely been told that photography is not allowed. Even though it mentions nothing about on the ticket itself, or any publicity put out before the show. Why ban a point-and-shoot camera when every idiot out there is snapping (often horrible) pictures with their cell phone? Just a thought...

Finntroll with Blackguard, Metsatöll, Trollband Concert Review

Finntroll with Blackguard, Metsatöll and Trollband

Nov. 18th, 2013

The Pawnshop

The evening started off with western Canadian blackened folk metallers Trollband opening. Having missed their album release party a few months ago, I was interested to see their take on folk metal. Especially since I did not realize they were on the line-up until arriving at the venue. The ‘blackened’ element definitely shone through at times, creating a sound heavier than most folk metal. Trollband was able to put some energy into a half-full house, evidenced by having those who were initially reluctant to get on the floor nearer to the stage by the end of their set. 

Metsatöll’s set proved to be an interesting experience, as one could assume it would be. Interesting, in this case, does not have any negative connotations. Rather, utilizing traditional Estonian instruments on stage (and in recordings) proved to be something slightly different and incredibly good. Metsatöll was able to build upon the energy in the room, engaging the audience although it’s almost a complete guarantee that no-one in the crowd actually understood the Estonian language. Ancestral instruments and lyrical themes were still able to be communicated through the music, creating for a solid set. Metsatöll is a band that I have long had intentions to further check into, and after seeing an impressive set, this may become a priority. 

Blackguard, hailing from eastern Canada, held the slot directly before the headliners. Having seen Blackguard numerous times over several years with several different lineups, they still felt slightly out of place on this folk metal flavored line-up. The crowd seemed quite receptive and the first evidence of a small mosh pit could be witnessed during their set. Perhaps it was due to relatively recent line-up changes, but their set seemed slightly disorganized in comparison with previous shows. Personal opinion might play an influencing role in my perception of Blackguard’s set as I used to be a fan but have not been for some time now. (There is a good reason, but a review is not the place to discuss it in detail). 

Headliners Finntroll came out with force, tearing into ‘Blodsvept’ and ‘Solsagan’ at the start of the set. These, as well as other material from the two newest albums, “Blodsvept” and “Nifelvind” seemed to be crowd pleasers. Having been a long-time Finntroll fan, it seemed strange when other audience members clearly didn’t recognize older material, but I suppose it’s bound to happen. Vocalist Mathias ‘Vreth’ Lillmåns even got a chuckle out of a few in the crowd when he stated that not every song is that good after an overzealous outburst from a fan. Finntroll brought their characteristic energy and unique mix of several metal sub-genres out with a vengeance. Even though the stage was a little cramped for the number of band members, the energy remained high throughout the set, and all instrumental and vocal components came through loud and clear. Although the vocals are in Swedish, most fans seemed able to headbang and mosh along to the ever-changing tempos. Finntroll is the perfect embodiment of a band that can combine a musical style leaning toward blackened folk, with an interesting aesthetic sense and enough onstage energy to provide an unpretentious and yet grandiose  show.

I very thoroughly enjoyed the half of their set that I was able to watch. Unfortunately, due to unforeseen circumstances, I had to leave in the middle. Sometimes things happen, but here’s to hoping Finntroll comes back sooner rather than later.

(As a bit of an added random thoughts-brought-about-by-the-show rant: Since when did Finntroll’s music become popular with hipsters? Unless they just show up at metal shows for the sake of showing up at metal shows, as seems to be the case as of late. It might explain this ‘electro-swing’ trend that keeps popping up, and that I can’t wrap my head around. I’m still also struggling with the idea that some people can stand in the front row and not be engaged in the music what-so-ever, but it happened again. Again, I still find myself shaking my head at some women at metal shows. Perhaps it’s because I started going to shows when you would only find a handful of women in the room, or got used to the same generally self-respecting, knowledgeable women or perhaps I’m just getting older and more jaded, but some girls really seem to try their hardest to make all female metal-heads look like idiots. Thanks for that). 

So, this review may have turned out to have a personal opinion, rather than more objective, flair to it. I suppose if you don’t like it, find some way to cope with it. 

Legends Of Thrash concert review

Kreator / Overkill / Warbringer 

Rickshaw Theatre, Vancouver, BC

November 11th, 2013

Starting the evening off was the thrash stylings of Warbringer, a band from the United States. While they served to raise the energy of the crowd streaming into the Rickshaw Theatre, their set seemed frantic and a little disorganized at times. This was atoned for by vocalist John Kevill’s willingness to chat with fans and hang out in the crowd for the rest of the evening. 

Veteran thrashers Overkill raised the bar significantly upon taking stage. With a no holds barred, in your face attitude they demonstrated more energy than musicians half their age seem to have. They played a solid set, mixing both newer material and old spanning a career of thirty years. The crowd seemed to enjoy the Overkill set, moshing enthusiastically at the urgings of vocalist Bobby ‘Blitz’ Ellsworth. Not being too familiar with Overkill, I found myself immensely enjoying their set. These American thrash legends definitely gained a new fan. 

Anticipation was high as German thrash legends Kreator began their set. They brought a blistering intensity, playing with the ardor of a band with something left to prove, although their highly acclaimed career speaks for itself. Kreator played a mixed set of old and new material, both equally as heavy. ‘Phantom Antichrist’ had the crowd chanting the chorus, as well as ‘Hordes of Chaos’. The fact that everyone in the venue, younger and older, seemed to be involved in some way, rather than standing on the fringes, proved how well liked and how true to their thrash roots that Kreator have consistently remained over the years. While songs like ‘Pleasure to Kill’ and ‘Endless Pain’ seemed like staples, they were executed greatly to the uninitiated Kreator fan. At the end of the set, vocalist Mille Petrozza brought the “Flag of Hate” onstage, accompanied by the song of the same name, adding a little bit of flair. Overall, Kreator played a fantastic set.

After the show, it was refreshing to see that all the members of Kreator, but namely Mille Petrozza and Sami Yli-Sirniö, were willing to chat and sign autographs, even in a dank alley in one of the worst neighbourhoods in the entirety of Canada. With all of the bands bring a solid array of merchandise, a venue that was unrivaled by anything locally and a solid night of thrash, the Legends of Thrash tour was well worth the nearly two thousand five hundred kilometer round trip to see it. 

My boyfriend's now-signed vinyl. 

"Ugly" Christmas Sweaters

More metal bands need to do this! Metallica, Slayer and now Devildriver have 'ugly' Christmas sweaters, and I think it's an epic idea. Completely appropriate to wear to a family festive gathering, and yet still awesome. Plus, it's a lazy and yet appropriate option for that holiday dress-up idea that many people seem to partake in. I'd probably occasionally wear one everywhere else during the winter too.
(While I don't have many nice things to say about deathcore/metalcore, a band called Attila, falling into the aforementioned subgenre, has a somewhat offensive ugly Christmas sweater. It might be worth looking it up if you're bored).

I actually particularly like this Devildriver one, even though Devildriver is not in the very top of my most listened-to bands category. Plus, the scarf and Christmas ornament are a nice addition.

A bit more on the Devildriver Christmas bundle here:
http://www.blabbermouth.net/news/devildriver-ugly-christmas-sweater-coming-next-month/

Modification Apprehension

Out of the numerous band shirts I've managed to amass over the years, these ones are in need of serious  modification. Why? They are all men's size large or extra-large, which leaves me swimming in extra fabric. I've had plans to modify several shirts for some a very long time now, but can't seem to find the time required, or get over the apprehension at potentially destroying a shirt and creating something completely unwearable. I think a few of these may be a project for this winter...

The Perfect Halloween Album?

        If you're on the hunt for the perfect macabre album to listen to on Halloween, or perhaps play in the background at a hauted house, there's one out there. When Twisted Sister frontman Dee Snider set out to make a Halloween concept album, modeled on the fictional tale of an unfortunate boy, he nailed it. This is a spine-tingling sound-track to go impeccably with those creepy-themed October nights.

Van Helsing's Curse - "Oculus Infernum"

Track Listing:

1. Patience (Introduction)
2. Tubular Hell
3. All Fall Down
4. Let Me Prey
5. The Child
6. The Tortured Soul
7. Revenge
8. War
9. Let The Pain Begin
10. The Curse

Music For Halloween

Halloween: That time of year when those of us who love all things morbidly creepy can revel in what the rest of society partakes in for a single day without looking like complete lunatics. At the very least, it’s the time of year that all of those horror and gothic themed decorations that remain up all year seem normal. 

I love the aesthetic of Halloween. I’ve always loved horror movies, horror art and horror literature, and Halloween draws together all of the morbid fascinations that I have. Hard rock and heavy metal tend to bring these together too, in the form of lyrics and in the form of some downright spine-tingling music. 

While there is an incredible amount of horror-related musical material to choose from, especially within the death metal subgenre, I’ve thrown together a few picks for a “Halloween” playlist. Some of these tracks are obviously related directly to Halloween itself (which I have chosen to be picky and not include a ton of directly-Halloween related songs), some of them are more than slightly disturbing, and some of them may not even have been intended to be what I perceive them as. Of course there is no shortage of somewhat repulsive, disturbing, horror themed material from bands like Cannibal Corpse and Entrails, although Entrails is much less disturbing lyrically than Cannibal Corpse. As for King Diamond (or even Mercyful Fate, which I didn’t include), almost every song is occult based. Without delving any further into any of these sub-genres represented, this is my quick Halloween-themed playlist:

Alice Cooper - Black Juju (from Love It To Death)

“Under the soil now waiting for worms all that I feared is all that I've learned”

Alice Cooper - I Love The Dead (from Billion Dollar Babies)

“Cadaver eyes upon me see nothing”

Alice Cooper - Cold Ethyl (from Welcome To My Nightmare)

“One thing I miss is Cold Ethyl and her skeleton kiss”

Annihilator - Phatasmagoria (from Never, Neverland)

“Don’t you know that ghosts never rest”

Bathory - Raise The Dead (from Bathory)

“Calling the vengeance, I tear at the lid, and promise to raise, from the dead”

Cannibal Corpse - Necropedophile (from Tomb Of The Mutilated)

“Pleasure from the dead, complete satisfaction”

Cradle of Filth - A Gothic Romance (Red Roses For the Devil’s Whore) (from Dusk and Her Embrace)

“Drunk on red wine, her dead lips on mine”

Death - Scream Bloody Gore (from Scream Bloody Gore)

“Controlling the minds of the bloodthirsty dead”

Entombed - Left Hand Path (from Left Hand Path)
 "I will be beyond the grave"

Entrails - Cemetery Horrors (from Raging Death)

“Voices from the grave - the cemetery horrors”

Entrails - Undead (from The Tomb Awaits)

“The dead are walking at the cemetery, hungry for flesh and thirsty for blood”

Grave - In Love (from Into The Grave)

“You lie so nice in front of me, as I brought you from your grave”

Helloween - Halloween (from Keeper Of The Seven Keys)

“In the streets on Halloween, the spirits will arise”

Iron Maiden - Fear Of The Dark (from Fear Of The Dark)

“Watching horror films the night before, debating witches and folklore”

Kataklysm - The Night They Returned (from Serenity In Fire)

“They are... the flesh eaters”

King Diamond - The Invisible Guests (from Them)

“Speaking to no one...”

Possessed - Phantasm (from Beyond The Gates) 

“From the crypts they rise”

Rob Zombie - Dragula

“Dead I am the one..”

Slayer - At Dawn They Sleep (from Hell Awaits)

“Blood sucking creatures of the night”

http://riddickart.com/news/gallery

Just to throw everyone for a loop, two more songs that are somewhat synonymous with Halloween and horror, but not the slightest bit hard rock or metal:

The Ramones - Pet Sematary (from Brain Drain)

Michael Jackson - Thriller (from Thriller)

The 69 Eyes - 'Lost Without Love' Inspires A Bit Of Rambling...

       

Jyrki channeling Jim Morrison at Rockperry Festival,
Vaasa, Finland, 2008. My own photo. 

        It’s true that The 69 Eyes cannot be classified as metal, but every once in a while I like to indulge in a little bit of gothic rock and this has been my band of choice for several years. They have provided inspiration for a lot of things in my life, although this was more true in the past than in the present. They have also inspired their fair share of discussion amongst my circle of close friends. The first time I witnessed a live performance, they played in between 3 Inches of Blood and Cradle Of Filth. How does that not deserve some discussion regarding how strange of a line-up combination that proved to be? Anyways, moving on and providing more potential discussion material...

The 69 Eyes will be releasing a compilation album entitled “The Best Of Helsinki Vampires” in a few weeks time. I’m not a big fan of compilation or ‘best-of’ albums, but they definitely serve a purpose for the casual listener or new fan. The 69 Eyes have previously released a ‘best-of’ album, “Framed in Blood - The Very Blessed Of The 69 Eyes” back in 2003. This album was a good sampling of the eclectic mix of earlier material. Having been around for as long as I have been in existence, The 69 Eyes have demonstrated a wide variety of their influences throughout their albums. Early albums such as “Bump ‘n’ Grind”, “Motor City Resurrection” and “Savage Garden” clearly have a bit of a sleaze metal and glam metal sound. The “Wrap Your Troubles in Dreams” era through to “Paris Kills” and into “Devils” demonstrates a significant gothic metal/rock influence. These are arguably my favorite albums, and the reason why I enjoy The 69 Eyes, even though I own and have listened to their entire discography. (Thanks to a friend who was able to secure the earlier albums before they were easy to obtain in North America). 

I suppose a ‘best-of’ album updated with the last four albums that this band has released is in order, especially since it has been ten years since the last compilation album. Of the last few albums released, “Back In Blood” is possibly my favorite. “Angels” is probably my least favorite, as this album seemed like an appeal and ode to celebrity obsession. As far as I’m concerned, trying to appeal and speak to the internet celebrity culture is pointless, but I obviously differ from a good portion of the population in these thoughts. I also tend to love the humor in songs like ‘Dead Girls Are Easy’, ‘Frankenhooker’, and ‘Christina Death’ (whether that one was meant to be humorous or not). Personally I think this particular compilation should have included ‘Suspiria Snow White’, as I feel that draws together most of the elements, minus the pure gothic sound, that have influenced and can be heard on almost every 69 Eyes album. ‘Stigmata’ should be included as well, because it is just a neat song. Especially when there are a few versions of it floating around, but I digress...

While that was a bit of diversion from the ‘Lost Without Love’ single, it sets a bit of a background scenario for the comments I’m about to make. While the lyrics of this particular song are okay at best, I’m not a fan of the pop elements it contains. It shouldn’t come as that much of a surprise, considering the latest direction The 69 Eyes have chosen to take, but that doesn’t mean that it’s not disappointing. From a band that had (several) distinct sounds, not necessarily appealing to a mainstream audience, this frustrates me. Again, it’s not awful, but it’s not that appealing either. A quick scan of the comments people have made on YouTube say it all. This is polarizing. Some fans yearn for the old sounding 69 Eyes, and some argue that change is a good thing. Honestly, I’d argue against that. I can reiterate it in regards to more than one band, but if I wanted something to sound completely different, I would have listened to a different band in the first place. Artists sometimes feel a need to change direction, and I guess the inevitable consequences are either losing or gaining fans, or developing fans who have strong preferences for certain albums. 

From Blabbermouth. 

Kataklysm: 'Elevate' Video

With Kataklysm's new album, "Waiting For The End To Come", set to be on shelves just before Halloween, they've released a video for the track 'Elevate'. Check it out, if you haven't already:

Kataklysm - 'Elevate'

These Canadian death metal masters have created one hell of a neat video. Personally, I love the special effects and gore present in this video. Bear in mind that this is coming from someone who has had a bit of an attachment to vampires (before they sparkled) and zombies (before they became mainstream-popular and fell in love), but if you appreciate horror-themed visual effects mixed with death metal, you'll like this video. Having a bit of an idolatry for the reaper/death figure, I quite enjoyed Kataklysm's take on a figure that it has used time and time again in it's band imagery. This video plays like a short horror movie, and there is definitely nothing wrong with that.

Heavy Metal & Hockey

An article found on Esquire's culture blog:

Tuukka Rask Rocks Out


First of all, I'm not surprised and second, I'm glad the article specified rock and metal in the subject line because I wouldn't exactly consider all of the bands he listed as metal.

I mostly wanted to share this because it made me chuckle, partially because of the truth about Finland in the summer. I do someone disagree with 'Dark Light' being the HIM album Tuukka would recommend starting with. (My personal pick to give to someone else would be 'Razorblade Romance').

It seems somewhat strange to me that more professional hockey players don't listen to metal, but that always seems to be the case when you hear stories or read articles such as this. The part where Rask mentions having to put on headphones in the locker room because no one else likes the music is reminiscent of stories of a former Edmonton Oilers hockey player and fellow Finn. Anyone else remember Janne Niinimaa?

Magenta Harvest

I have been patiently awaiting a full-length album from Finnish death metal band, Magenta Harvest since I discovered they existed a few years ago. Now it's here and titled 'Volatile Waters'. The album has been recorded, and release dates have been set, although it won't come out until early next year. I'll have to find a way to keep the anticipation in check until then.

This website, http://inverse.fi/wordpress/?p=665 , has posted the track listing, cover artwork and other information. There is also a 'highlight medley' posted at that location. It will be interesting to see if this album tends to be more purely death metal, or if it has more of a 'Finnish sound'.

Quick Announcement

Well, not really an announcement, but more of a comment.

I've decided to change my display name from Rivfader to Reign of Terror.

Why?

Well, as anyone who is familiar with Finntroll knows, Rivfader is a fictional troll king. While a troll king hell-bent on destroying invading Christians is pretty sweet, as a female, it's not an entirely suitable name. After being stuck with nothing else, I originally used it because I love Finntroll, being well aware of the connotations. I figured I had better change it before someone either starts actually reading this blog, or before someone is perceptive enough to pick up on it and start some random debate.

Troll illustration done by Samuli Ponsimaa (Skrymer) of Finntroll. 

Some of Skrymer's Artwork

Noctis 666: Lucifer Rex - Personal Commentary and Review

Noctis Festival. For several years, those words have been synonymous with an underground metal festival surrounded by much hype and anticipation. With this year’s edition touted as the last Noctis, it felt like an obligation to go and check out what I’ve been missing for the last number of years. (The 2010 edition of Noctis is still something I feel as though should not have been passed up, due to Månegarm, Sodom and Metsatöll being in the line-up, but that is entirely personal preference.)

The event was hosted at the Ramada in downtown Calgary, which proved convenient in terms of the conferences and marketplace being in the same building in which many metal heads chose to reside for a few nights. The Ramada itself is not particularly impressive, being in need of a few updates and proving to be nothing special in terms of what you might expect from a hotel in a swanky downtown business district. Attempting to find any useful information about parking from hotel staff beforehand proved to be futile, making check-in and arrival more difficult than it needed to be. Thankfully I did not have my own vehicle, as I never would have fit into the hotel parkade. Another slight surprise came when we found out that parking was to be paid by night, which I have never encountered at any other hotel. The joke of the weekend truly became ‘riding the elevator’, as the hotel elevators seemed to have a mind of their own, frustrating many metal heads attempting to navigate between hotel rooms and the conferences. If you have never booked a room in this hotel, make sure you ask for a balcony, as we quickly discovered some rooms had them and some did not. Yet another bit of misinformation from the hotel staff. Enough about the hotel itself...

Unable to attend the first day of performances on Thursday night because of other obligations, I was somewhat excited to delve into the conferences on Friday afternoon. Unfortunately I missed Sam Dunn’s interview due to the hassle of finding parking, which was disappointing. Saturday’s conferences appeared engaging, but due to a visit to a shop in Calgary, I again missed both the ‘The Rise Of Women In Extreme Metal’ and the interview with Dan Swanö. Laina Dawes’ presentation, ‘A Black Woman’s Life And Liberation In Heavy Metal’ proved to be incredibly engaging, offering several interesting insights and candid thoughts. ‘The Many Faces Of Black Metal Fandom’, with Vivek Venkatesh, was another highlight of the conference component. Both Dawes and Venkatesh took an academic approach to their subject matter, crafted around personal experiences, and brought topics to the table that were thought provoking, had intensity and captivated their audiences. In all honesty, these topics could have been given more time, and the final topic of the day, ‘Are Women Running Metal?’ could have been shortened or eliminated altogether. My time would have been more enjoyably spent witnessing the legendary Gene Hoglan’s drum clinic, even though I lack any proficiency and knowledge based around drums. Somewhat harsh, but true. 

The Metal Marketplace did not quite live up to my (high) expectations, but I was able to find a few small treasures. The gentlemen from Lock & Shock, far from their Californian home, were very helpful and brought some difficult to find merchandise. Kudos to them. Ragnar The Trader also had some unique, hand-crafted items. Vinyl collectors appeared to come away satisfied from the marketplace. Dan Seagrave, death metal artist extraordinaire, created a painting at his booth during the expo, making it interesting to pop in and out and witness the progress. The marketplace could have been made better with a few more vendors, but overall was alright.

The performances on Friday night were marred by attempting to grab something to eat, and a mix-up on the C-Train, causing the first two bands (and the only two of the night) that I was intent on seeing to be missed altogether. Not being familiar with several of the other bands, and not being a ‘trve’ black metal fan, I was content to spend most of the evening on the balcony of the Mac Hall Ballroom, heading back to the hotel early. The Mac Hall Ballroom itself proves to be an area of contention amongst show attendees, as several disparaging remarks about the venue were expressed. While the sound was much better both evenings than the previous time I had been there, no improvements to the beer gardens had been made and a few policies were in place that provided annoyance to numerous metal heads. 

The bands on Saturday night were an entirely different experience with a line-up of heavy hitters and legends. Again, the choice had to be made between having dinner and missing the first few bands. With dinner winning out, and grabbing a beer at the venue, the night began with a one-song introduction to Sacrifice. Definitely not enough to form any kind of opinion other than noticing that the Mac Hall was packed in comparison to the previous evening. 

Widely hailed as death metal innovators, Possessed took the stage next to a packed house. Active originally in the early to mid 1980’s, this American band brought a heaviness to extreme metal that could arguably only be seen in Slayer around the same time period. Highly influential to a number of other extreme bands with their album Seven Churches, Possessed played a blistering set with all the frantic drumming and guitar shredding that one could want, led by Jeff Becerra’s trademark guttural vocals. Some fans could be overheard saying that if Possessed had chosen to play the Seven Churches album in its brutal entirety, they would have been happy, but the band managed to mix in some new material with the old, sounding as purely death metal as one would expect. While it is unfortunate that this band took such a long hiatus until re-forming again, I feel privileged to have had the opportunity to have seen three of their sets in the last year. They were definitively the highlight of the entire Noctis festival for me. 

Fitting in perfectly with some of the conference themes of the origins of heavy metal and women in heavy metal, British band Girlschool held the next performance slot. While several people seemed to take this as an opportunity to cram into the beer gardens, several others stayed to watch this NWOBHM band play. Active since 1978, they brought a more traditional feel to the evening, with some of their punk influence shining through on older songs. Hugely influential Swedish doom-metallers Candlemass were next. Personally not being a fan of doom metal, I was still quite impressed. Current vocalist, Mats Levén, changed my expectation for vocal style in a genre I’m largely unfamiliar with. The band played a well-orchestrated set to a packed house, moving the night forward with more excellence from legends. Coming off the very recent release of their newest album, Surgical Steel, British band Carcass were the headliners for the evening. Their discography encompasses bits and pieces from a number of metal sub-genres and this was evident in the songs chosen for the set. Again, not being terribly familiar with Carcass’s material but eager to see a legendary band, I found myself enjoying the musicianship on display. They proved to be a good choice of headliner for the last night of the Noctis festival. 

Overall, Noctis was an interesting experience, although if it does (by some small chance) get carried into the future, I think I will still wait for line-ups I really ‘need’ to see, and perhaps attend only the concert portions to avoid blowing my weekend budget out of the water. 

Check out the official Noctis site for more information about the event and various presenters at the conference: 

http://www.noctisvalkyries.com/