Monday, 29 April 2013

Hypocrisy cancels... AGAIN


Disappointment, frustration, anger. Those are three words that can be used to describe the way I, and probably many other fans, feel upon hearing the news that Hypocrisy has  “been forced to cancel” their North American tour. Anger is the best descriptor of my emotions following the news. It was disappointment the first time I held tickets to a cancelled Hypocrisy show, but now it’s just anger. I have possessed tickets to three different Hypocrisy shows, with the expectation each time of finally getting to see them live. I also now have in my possession ticket stubs to three different cancelled Hypocrisy shows. 

The first was several years ago, when they were slated to play alongside Ensiferum. That tour where Alexi Laiho was supposed to fill in on guitar. Which would have been verging on fantastic for someone who is an admittedly huge Children of Bodom fan. Shortly before that tour was slated to begin, it was announced that Hypocrisy had to cancel due to visa issues. 

The second time happened to be the Barge to Hell cruise. After numerous other cancellations and rumors of certain bands being on board that turned out to false, Hypocrisy was one of the few bands left that I hadn’t seen live previously that I was excited to see. Literally a couple of days before metal heads were set to board the ship, they announced a cancellation again. If personal issues were truly to blame, it’s an understandable reason. Although incredibly disappointing nonetheless. 

Now they’ve pulled out of this tour. I guess I shouldn’t have been so quick to say “I hope they don’t cancel again” when I first bought my tickets. Again, this is due to visa issues. While everything I have read has said that the visa process was going as expected until the other day, I’m still in slight disbelief. (This is especially true after holding tickets to Arkona’s recently cancelled tour and hearing about the cancellation of Cradle of Filth’s tour due to visa issues). Considering passports can be expedited for an extra fee, I would have assumed it would be the same for visas. Especially once the process has already been under way. Then again, I don’t know how the American system works, as I’m led to believe that this an issue in the States, due to the problems being credited to Homeland Security. Anyone that has had to deal with security in the States knows it’s not exactly easy. Which would make you think that these things would be arranged and confirmed months in advance to avoid issues like this. Whomever handles the paperwork for Hypocrisy should have realized this. Especially considering they’ve had problems with visas for North American tours before. This is even more of a blow to Canadian fans, as the issue seems to be with Homeland Security in the States, and nothing has been mentioned about denial of entry into Canada. Perhaps tours shouldn’t even be announced until visas are in place. That would avoid the anger and frustration that fans inevitably feel with these last minute cancellations. 

While this particular tour is still apparently going on, minus Hypocrisy and Aborted, I’m no longer anticipating this show. I have the ticket, it’s a pain to get a refund, the other bands that are left are decent, and therefore I’ll still go. But thanks to strike number three, I can no longer believe Peter Tägtgren when he states “We will be back, I can promise that!” That will be something I will only believe when I finally see it for myself, if I can even be persuaded to buy a ticket to a Hypocrisy show again. 


Link to the original article:

Friday, 26 April 2013

Throwback to Older COB?

With Children of Bodom's new album being released in June, they've decided to release a single. While I'm always somewhat excited to check out new Children of Bodom, this song sounds like a step in the right direction. Whatever could the 'right direction' mean? A throwback to the older Bodom sound that long-time fans seem to love.

While listening to this track, you can hear undertones similar to the material around and previous to Hate Crew Deathroll. Hopefully this is an indication of what the rest of the album will sound like.

If you haven't heard it, give it a listen.

Children of Bodom - Transference

Thursday, 25 April 2013

Disillusionment



Call it neglectful, forgetful, a lack of motivation or just being incredibly busy these last few weeks, but it’s obvious that I haven’t written any new material for my miniscule corner of the internet. While this may be due to a combination of the aforementioned reasons, I believe a nagging sense of disillusionment regarding the changing (local) metal scene may have something to do with it. With that being said, I might as well throw in a disclaimer now. If you’re not prepared to read a potential rant saturated with opinion, consider skipping over this post altogether. 

Lately I’ve noticed the local scene undergoing changes. I’m not the only one who has observed this either. Sometimes change is good. Some change is needed. Sometimes change is bad and other times it falls under the blade of a double edged sword. In this case, the changes are not exactly positive. I suppose there are some positive points, but I’m currently having considerable difficulty reconciling them. 

An influx of mostly young people not previously in attendance at shows seems to be the root of the problem. While it’s inevitable that ‘new’ people will discover metal and attend concerts, the change in attitude that has been accompanying these new people is, quite honestly, verging on infuriating. I’m beginning to feel old when I go to most metal shows, and I’m not actually that old. There appears to be a widening chasm between the ‘regulars’ along with those who occasionally attended shows and the idiots that have been making their presence known lately. They are the ‘kids’ that have recently (and coincidently) become old enough to legally drink. Kids, in this case, does not necessarily refer entirely to age but rather to attitude. 

You can often find the same people at metal shows. No real surprise there as the scene is generally quite tight knit, several friends and acquaintances exist, and there is some sense of respect for musicians and fellow metal heads alike. If you are of the perceptive type, an unspoken code of conduct exists. It’s not really something that can be written or defined, and you either understand it or you don’t. These ‘kids’ don’t seem to understand it.

Metal shows as of late have seen an influx of disrespectful, self entitled idiots who seem to think that being a metal head involves getting as drunk as possible, and having an utter lack of respect for everyone surrounding them. It was never too unusual to find a handful of these types at larger shows, but there has been an invasion of the smaller shows lately. Often, the smaller shows with lesser known bands were attended by those die-hards and those heavily involved in the metal scene. The type who live and breathe metal every day and spend time educating themselves about the nuances of the widely varied blanket term for the genre known as metal.

It doesn’t appear that the idea of a smaller show with die-hard fans can exist for much longer. Now it seems that anyone and everyone who could normally be found carousing a bar has decided to attend metal shows. While it’s difficult to organize a coherent thought process and put it on paper regarding this, I’m making an attempt. Agree with me or not, that is a choice I leave to you. 

Returning to the idea of a double-edged sword, higher attendance at shows should be a good thing. It means more tickets sold, which translates into more revenue for artists. It also demonstrates that a strong market for metal exists. Those who have been participants in the scene for several years already know this, but many international artists do not realize this. Speaking casually with metal musicians from other countries, many of them are amazed at the well-versed fans that exist in this area. More exposure hopefully means that metal bands will be inclined to return and that some of the lesser-listened-to ones will eventually tour here.

For someone who has been a generally non-obnoxious metal head, the idea of metal becoming more popular is not all that appealing. Folk metal especially is almost starting to lean towards becoming mainstream. It is arguably one of the more accessible sub-genres of metal, but was not that recognized locally five or six years ago. It was satisfying to be someone who had some knowledge of these hidden gems and to be able to discuss that knowledge with a few others. Females at metal shows are becoming a common sight, whereas they were definitely in the minority a few years ago. You could find most of the women who were attending shows then wearing a band shirt and looking like they belonged in a crowd of leather jackets and other band shirts. Now most of them look like they should be in some random dance bar, but that could turn into an entire conversation in itself and thus will be left alone for now.

I’d hazard a guess that the ever increasing use of social media platforms and the internet in general has a lot to do with metal’s move toward greater popularity. Perhaps this is so irking because I am a reluctant user of social media (when I use it all) and somewhat detest the endless self promotion that seems to occur. Again, from the perspective of an artist, more outlets to promote and share material is fantastic. Tending to be more old-school, I still prefer gaining information in the print form, from a book rather than a screen. I do not download music. I enjoy having a hard copy to display and to ponder over. I do, however, enjoy having more access to news and timely updates from bands, as well as the ability to sample material from a ‘new’ artist through outlets like YouTube before buying a hard copy of an album. The attitude has obviously shifted away from the idea of print and magazines, now focusing on instant, small tidbits of sometimes irrelevant information. Smartphones and social media sites have shifted culture in general, and this is also evident in the metal scene. The divide between those who feel older, and the generations of instant info, tech obsessed kids might never be reconciled. My hope is that it does not further negatively effect the metal scene. 

For this to happen, some of those instant information and gratification types need to figure out a way to interact with people without relying on an electronic device. Face it, a crowd at a show is just that, and requires some form of social skill to successfully navigate and ensure that you respect those around you and are respected in return. (Electronic communications have seemed to dull the senses to successful human interaction in society in general, but again, that’s an argument entirely in itself and more of a premise to be used as an example here). The majority of metal heads are polite, well informed, educated members of society with diverse interests and talents. Not the type who show up to metal shows because they have apparently become the new ‘cool’ to brag to friends about. To throw in a few stereotypes, not every ‘kid’, ‘bro’, ‘hipster’ and college partier that has recently began to appear at metal shows falls under the shadow of this umbrella, but if actions speak louder than words, it’s becoming difficult to make a case otherwise. 

So often older adults complain about the younger generation and the lack of respect they possess for anything and everything. Lately many have said that the ‘new’ young generation are the most arrogant, self important, disrespectful group that they’ve ever seen. While it might be dismissed as a typical thing for older people to say, I’m unfortunately beginning to agree. This seems to be emerging at metal shows as well, reinforced by several individuals and their actions. With the metal scene growing and changing, it is becoming tainted and frankly, it sucks. 

Wednesday, 24 April 2013

Deceiver Of The Gods

For anyone who has been following metal news more carefully than myself lately, this might be old news. Amon Amarth has recently released details regarding their upcoming album, titled Deceiver Of The Gods, available June 25th in North America. Several special edition packages of the album are available, and I already have my sights set on a particular one, as they all offer something pretty good.




Deceiver Of The Gods track listing:
1. Deceiver Of The Gods
2. As Loke Falls
3. Father Of The Wolf
4. Shape Shifter
5. Under Siege
6. Blood Eagle
7. We Shall Destroy
8. Hel
9. Coming Of The Tide
10. Warriors Of The North







I find the color schematics for the cover don't quite work for me, but they do accomplish what I would imagine they are supposed to accomplish. What difference does it make what the cover looks like when the music contained within promises to deliver? If tracks with titles like 'Blood Eagle' offer any indication, this album promises to full of the lyrical brutality that Amon Amarth is so skilled at creating. The title track has been released for preview, suggesting a return to more obvious death metal influences. Statements by members of the band have also suggested that there will be a bit of a return to Amon Amarth's roots in this album. While the previous, most recent Amon Amarth releases have been polished pieces of excellence, I am definitely excited to hear the changes alluded to with this upcoming album. 

If you want to listen to the title track for yourself, it can be found on Amon Amarth's website homepage, or alternatively, on YouTube. 

Wednesday, 10 April 2013

Paganfest North America Concert Review


Paganfest North America Part IV
With Ensiferum, Týr, Heidevolk, Trollfest and Helsott
Starlite Room
April 9th, 2013


With a highly anticipated line-up, it came as no surprise that the Starlite Room was a full house for Paganfest. It seems that one can expect that the bands on Paganfest always manage to put on a stellar show, and last night was no exception. With this tour being the first time that Týr, Heidevolk, Trollfest and Helsott have made stops in Canada, we can only hope that they will soon be back again. 

Unfortunately I missed the majority of Helsott’s set. A show starting at six in the evening is a little early, and Starlite must be trying to repair their reputation for doors opening and shows starting significantly later than what the ticket says. Either way, I was impressed by what I did hear and this lesser known band from the United States served to energize a crowd eager to hear more folk metal. If Helsott manages to make it back, I will not be missing their set next time.

Norway’s Trollfest proved to be a frenzied, frantic attack of fast paced folk-flavored metal. Silly headpieces made a good accompaniment to vocalist Trollmannen’s sense of humor, which was well received by the audience. While I was quite unfamiliar with their material, this did not seem to be the case with a significant portion of the audience. Familiar with the material or not, Trollfest revved up the crowd. Seeing a saxophone used onstage was an interesting complement that is not found at too many metal shows, but it definitely works in this band. Trollfest describe themselves as being ‘about alcohol, joy and music’, and this was evident in a well played set. While I found the sound a little muddy, it may have been due to the sheer amount of instruments being played at once, overpowering the small venue.

Heidevolk was the big hit of the evening. Even though their lyrics are in Dutch, they managed to connect well with the audience. Listening to their studio recordings, one might be surprised to find the bombastic manner in which they translated to stage. Sounding hard and heavy, with clear sound throughout the entire set, Heidevolk brought the crowd to another level of energized. The two vocalists worked amazingly well together, providing voices that resonated clearly and powerfully throughout the venue. Rarely have I heard clean vocals translate with such force from recordings into a live performance.  Favorite songs of the night proved to be ‘Saksenland’ ‘Nehalennia’ and ‘Vulgaris Magistralis’. I believe this city would welcome Heidevolk back anytime. 

While I found Týr’s set to be quite enjoyable, there were some issues with being able to clearly hear the vocals on some of the songs. Despite this, the band from the Faroe Islands certainly did not disappoint. With music anchored in traditional Viking styles, Týr presents a sound quite unique even to folk, pagan or viking inspired metal. They played a set of material familiar to most Týr fans, proving they know exactly what to deliver to the audience. The ‘hammer’ songs, as they were described by vocalist/guitarist Heri Joensen, were favorites of the crowd. It seems that the only complaint anyone had about Týr’s set was that it was not long enough. The audience certainly wanted more.

Ensiferum came out in true Ensiferum style: playing a well oiled set and delivering heavy, near perfection songs. For someone who has seen Ensiferum numerous times, they never seem to disappoint. I was hoping for more of the older material, having to settle for a few old songs. Most of the audience seemed more than satisfied with a set heavily focused on material from the last two albums. ‘Twilight Tavern’ was a crowd favorite, along with ‘Iron’, which everyone seemingly either knew, or caught onto in a speedy fashion. ‘Burning Leaves’ translated well into a live situation, sounding much heavier than on the album. This is a band that is always energetic live, and always proves their skill as musicians, inspiring epic circle pits and plenty of headbanging. They were definitely a fitting end for a night of excellent pagan-themed metal. 





Windlake Tale

In the spirit of spreading metal to the masses (which might actually be an ill-conceived plan), I’d like to share an update from Kalmah. If you’re unaware of Kalmah, and you enjoy melodic death metal, give them a listen. 

A little late on the uptake, I only realized the other day that Kalmah are set to release a new album this spring. While the release date is set as June 17th, I believe that is likely for Europe, and am hoping to see a North American release date pop up soon. 

The album is titled ‘Seventh Swamphony’, and from what I hear whilst listening to a released track, it’s going to sound brutally like the Kalmah that some of us know and love. 

Have a listen for yourself to ‘Windlake Tale’:

Thursday, 4 April 2013

Just A Few Metal Things...


As spring is now attempting to make an appearance, it inevitably means allergy season. Living in a perpetual, sniffly, itchy, haze isn’t really conducive to formulating anything interesting to say and thus I feel like I’ve been somewhat neglectful in writing lately. I thought I’d share a few more tidbits regarding upcoming releases that I’ve been watching for lately; at least until I feel that I have something a little more profound to write about. 




Månegarm - Legions Of The North 
Track Listing:

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




Release date: The end of June

I really hope that I will be able to get a copy of this near the release date without having to do some serious searching. I do already own a few Månegarm releases, with one more in the mail that should have been here a few days ago. The cover artwork on this is stunning. If I could find a large version of it, I would definitely hang it on my wall. 

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If you are interested and have not had a chance to check out any of the album trailers for Children Of Bodom’s upcoming album, here’s the second one. While it does not really state anything that has not been stated before, it only takes a few minutes to watch. I am left wondering if the experimental style alluded to in this album will make it sound less like the Children Of Bodom that I like, but I am hoping for a solid album with an old Bodom feel to it. 


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Finntroll’s Blodsvept was released in North America on Tuesday. I pre-ordered it after discovering that ordering it online was going to be the only way that I could get ahold of the album in a timely manner. Well, it still hasn’t arrived in the mail although it was shipped over a week ago. I’m hoping the lovely US Customs people haven’t decided to hold onto it for a while (or charge me extra duty), or that Canada Post hasn’t lost it. I guess I should be more patient, but I want to listen to it now, dammit! Anyways, Finntroll has released their latest video to coincide with the album. It’s in typical, crazy Finntroll fashion, as per usual. I’m still chuckling at the floppy troll ears. 


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Monday, 1 April 2013

Destruction - Spiritual Genocide Review


Destruction - Spiritual Genocide 
Album Review

Track Listing:
  1. Exordium
  2. Cyanide
  3. Spiritual Genocide
  4. Renegades
  5. City Of Doom
  6. No Signs Of Repentance
  7. To Dust You Will Decay
  8. Legacy Of The Past
  9. Carnivore
  10. Riot Squad
  11. Under Violent Sledge
  12. Princess Of The Night (Bonus Track)
  13. Carnivore (Bonus Track featuring Olly & Harry)
  14. Mortal Remains (Re-recorded)
  15. Rippin’ The Flesh Apart (Re-recorded)
  16. Savage Symphony Of Terror (Re-recorded)


The album begins with an instrumental track, leading the way for the polished style of thrash that one should should expect from the modern-day Destruction. Spiritual Genocide is a commentary on the state of world affairs today, expressed against a background of fast and heavy riffs. Lines like ‘Are you the sheep or the voyeur?’ from the title track speak volumes to the message common to the entire album. The influence of mass media, the lack of critical thought, oppression of the masses and the lack of personal freedom from tyranny are all addressed. ‘City Of Doom’, when considered with the rest of the album, demonstrates that as a society we do not learn from history as the track obviously refers to Nazi Germany. 

The rest of the tracks express similar sentiments, encouraging thought about the state of the world today. Whether you choose to listen to the lyrics with consideration, or whether you just want to bang your head to a solid thrash album, the choice is yours. 

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While I realize this was released in Europe late last year, it wasn't until early this year that it was released in North America. I've been meaning to write a review of the album for some time now, and finally got around to doing it.