Here is a new video review for the upcoming vinyl re-release of Gospels of Scum by Casket Huffer. Let me know what you think in the comments below, or on YouTube.
Genre: Heavy Metal, Speed Metal, Fucking Metal
Man, who would have thought that buying an album based entirely on pity would yield such positive results? Allow me to explain:
Norselaw himself apparently had a dispute with his then employer that ended with his (in my opinion, wrongful) termination. Having only recently lost my job due to similar but completely different circumstances, I decide to toss my fellow warrior a bone and bought one of his albums. He suggested Serpent in the Circling Sea as it would play to my tastes… how this metal marauder knew such a thing is still a mystery to me, but goddamn, was he ever right!
Serpent in the Circling Sea features a plethora of headbanging highlights from beginning to end. Norselaw’s mastery of the art of the shred, for one. Where on Earth did this guy learn to wield a guitar in such a manner? My guess is he transferred whatever skills he learned as an axe swinging viking from hundreds of years ago to his new modern day “axe”. Or at the very least, he’s The Doof Warrior from Mad Max… hmmm…
Up next on the docket, we have the vocals. Let’s get the clean vocals out of the way; they’re rough. Not bad by a long shot, but they could definitely use some refining. As for his bellowing, fuck man, if he shouted at me to, “Get out of the way,” in that tone, I’d be in the next state over before he could finish his command. Motherfucker is scary.
Have I mention lyrical content yet? Norselaw pulls his imagery from everyday political strife (“fat blue line guarded by swiiiiine!”), to Conan The Barbarian to H.P. fucking Lovecraft. And speaking of Lovecraft, “Fungi From Yuggoth” is one of the best tracks on the album, not only due to the ever-presence of the Old Ones, but because of Jamie Lannister’s energetic drumming. Guy lets his fucking hair down and says, “fuck your ability to ever hear anything ever again!” and proceeds to rupture the eardrums of anyone within range in a berserk barrage of percussive power!
If you walk away from this review and can only manage to remember one thing, make it this: Norselaw is law. These guys fucking rule!
Here is the second episode of the Crown of Viserys News Bit. In it I talk about some of the upcoming albums in April as well as the upcoming shows from Crown of Viserys that happen in April.
If you’re liking what you see with the news bit, let me know, and if you are in a band that would like to be featured in the news bit, also let me know.
This entry was posted in CoV Presents, News, This Week's News Bit and tagged 2017, American, Anciients, Black Metal, Blackened Death Metal, Canadian, Casket Huffer, Citizen Rage, City of Strays, Crimson Caliber, Dark Descent Records, Dead Quiet, Death Metal, EP, Eternal Oblivion, Forsaken Rite, Gospels of Scum, Hibernation Release Records, Horror Pain Gore Death Productions, Independent, Iron Eyes, Italian, Lawrence's Creation, Lupercalia, Mongol, Moonlight Prophecy, Ordoxe, Primitive Man, Progressive Metal, Progressive Thrash Metal, Royal Thunder, Sarcasm, Self Harm, Selvans, Shadows in the Crypt, Skymir, Sludge, Solarcoven, Spinefarm, Stoner, Swedish, Tekarra, Thrash, Untimely Demise, Vile Insignia, Warrior Spirit, Weedeater, Wick, Within the Sphere of Ethereal Minds.
Genre: Experimental Progressive Black Metal
Label: Hypnotic Dirge Records
It’s been four and a half, five years since Netra released Sørbyen, seven years since Mélancolie Urbaine, and in some ways nothing has changed. Netra is still one man, playing a strange mixture of black metal, trip-hop, ambient, and a few other things. In some ways everything has changed.
Nothing ever felt forced with the first two albums, but on Ingrats everything feels like it belongs together even more. The songwriting has improved, and not even drastically. It’s been given just enough of a boost that all aspects that make Netra such a unique band are given their times to shine. For example, the pure DSBM moments of “Everything’s Fine”; the 80’s goth and 90’s EDM of “Live With It”; the saxophone on “Don’t Keep Me Waiting”; the beautiful ambient keyboards layered over fast double-kicks on “Paris or Me”; the list goes on.
Therein lies the beauty of what Netra is for me. It’s the controlled chaos of depressive black metal reined in with the steadiness of trip-hop and EBM. It’s slow and dark, truly melancholic and morose. It’s like slashing your wrists in a 4/4 beat. And it leaves such beautiful wounds upon your heart. Ingrats is a real masterpiece of black metal, for fans of the genre that like to watch it progress and further itself while still being true to what makes it black metal.
When: August 17, 2016
Oh man. It’s taken me awhile to get to type this up, but I really had to get these thoughts onto screen. This was a big night for me, a show that was more of a collection of bands that I really like in one room.
First up on the stage was a band that needs no introduction in Edmonton. One of the fastest rising bands this city has is Tales of the Tomb, a death metal band obsessed with serial killers. The Snowtown murders, Pickton and his farm, and 9/11 are just some of the topics that they tackle. This set was one of the best I’ve seen from them, and I’ve seen them a lot! Just this year alone I think I’ve seen them seven times or so. Not a band to miss in a live setting, and that’s agreed upon even by Rob from Necronomicon, who thanked Tales and said they were one of the best opening bands he’s had for the tour.
Second up was Miami, Florida’s Abiotic, who broke up shortly after this tour. This was my second time seeing them live, the first being with a different singer as they toured with Dying Fetus. This set was better than the last time, but there was some problems at the beginning of the set that caught my ear and almost made me dismiss them. The sound was just… quiet. There was nothing there. During the second song, however, the sound tech found where he wanted the band and everything went from somewhat flat to a wonderfully dynamic and fucking loud volume. Seriously excellent shredders on all instruments, but Travis Bartosek on vocals stole the show for me. If you’re one of those people who film with your cell phones though, I warn you: he’ll take it out of your hand and do some filming for you, giving you a phone video you won’t soon delete. It’s unfortunate that they split because I honestly could tell there was an amazing future ahead for this band if they did one more album. It’s the curse of being underrated and not quite getting the big push they should have gotten.
Third up was Vesperia, from Ontario. They all have a small-town attitude but hail from the big city of Toronto, so it’s always a treat to see these guys on a stage. Imagine Amon Amarth but from Canada, and you’re kind of in the right territory. Not so much a Viking metal sound, but a death metal with symphonic elements and a huge feel. They are truly an epic band to behold. The vocalist, Morgan Rider, has such an expressive voice with a large range. Sometimes they even get clean in the vocals, and this is where Vesperia shine for me. As I said, Morgan has a large range, and his cleans are the stuff legends are made of. It would never surprise me if they got picked up by Napalm or Nuclear Blast. In fact, it would surprise me if they didn’t. For those that might be thinking the name is familiar, it is probably because they won the Wacken Metal Battles in Canada, and played at Wacken as a result, winning the world-wide Battles.
Finally, the band that everyone came to see, the legendary Necronomicon took the stage. This is a band that has perplexed the death metal world since their Morbid Ritual demo in 1992. They sounded like Behemoth do now, back when Behemoth were still worshiping Norwegian black metal. Symphonic death metal, with black metal influences and overtones, this power trio is a true force to reckon with on a stage and on record. And since 1988, when Rob the Witch founded the band, they have been completely underrated because no one knew what the fuck they were watching and listening to. Yes, this is death metal. Yes, there’s pretty sounding and ominous keyboards in it. Yes, there’s songs with 100% black metal lyrics in them. No, this doesn’t really make sense, but fuck making sense, man! Sit back and enjoy just how huge these three dudes sound and look on a stage. Rob stole the stage from Brixx, he took it, he made it his and he owned it. Simply put, this band is one of Canada’s best, and we seem to take them for granted on our soil. The fans in the USA and Europe seem to understand them a little bit more, perhaps, because that is where their biggest successes are. But ultimately, they are just three dudes from Quebec making the noise they want to make. And goddamn they are good at it. If you missed out on this tour, you missed out big.
NOTE: This live review was originally published on September 15, 2016. Republished on March 23, 2017 after being reformatted for this version of the Crown of Viserys website.
This entry was posted in Live Music Review, Review and tagged Abiotic, American, Amon Amarth, Behemoth, Blackened Death Metal, Canadian, Death Metal, Dying Fetus, Metal Blade Records, Necronomicon, Okkultis in Canada Tour 2016, Progressive Death Metal, Season of Mist, Tales of the Tomb, Vesperia, Wacken Metal Battles.
Genre: Food Metal
Alum, sodium, zinc, etc… I get plenty of metal in my food. Now if I can just manage to get some food in my metal… wait, what? Native Californian and sometimes New Zealander James Perry?! Why are you putting your guitar in the oven? Ohhhhhhh…
Food Metal apparently started off as an exercise in song writing and snowballed into a legitimate project (think Tim Lambesis’s Austrian Death Machine only with no celebrity impersonations and less attempted uxoricide). This self-titled offering is a savory selection of songs that blend hard rock, metal, gastronomy and humor together to make an album that’s not heavy on calories, but heavy where it counts.
Mr. Perry borrows from a multitude of subgenres before butchering them, marinating them in his own distinct style, broiling them and finally serving them up on Food Metal‘s sonic smorgasbord. “Fries” takes bit of a slower paced thrash approach (“For Whom the Bell Tolls”), while “Pass The Beets” finds James in more familiar territory (for me at least) with a slower, more melodic (almost poppy) tune. But, in terms of balls out headbanging, the cake surely goes to “Where the Hell is My Food”. James’s vocals, dirty rollin’ riffs and lines about being pissed off about shitty customer service fit perfectly together here.
My only complaint here is that I felt a bit like Oliver Twist towards the end. “Please Sir, may I have some more?” (Ok, not an apt comparison since James would gladly give an orphan all the metal he/she could handle and I’m a fully grown ragamuffin.) I guess I should ask him if he plans on serving seconds in our forthcoming interview?
Shark Infested Daughters is a local abnormality making waves in their hometown of Calgary, Alberta. They are one of the few local bands who manage to garner as many rabid haters as devoted fans. When expressing dislike for the band, people rarely make mention if it’s the music they dislike, or if they think the members are pricks; the subjectivity of music is ignored, it’s just straight up, fuck that band.
I assume these people haven’t listened to SID since they released Reflections of the Dead (EP) in 2013, which is a unfortunate mess of unrefined vocals, misplaced guitar solos and heavy does of egregious synth abuse. SID has definitely come a long way in 3 years. Their latest release, These Tides, Our Tombs shows a far more mature sound with a multi-dimensional feel where most metalcore tends to fall flat and become monotonous. One of the most appreciated enhancements is less dramatic use of keyboards and the clean vocals taking a far more prominent role, providing a soothing break from the chaotic harsh vocals. Sticking with the typical metalcore format, the riffs are fast and heavy with more aggression and less emotion than previous releases. We are given an album that shows dedication to improvement, complete with creative, progressive riffs, intricate melodies and a cohesion not typically found in the ‘core’ genres.
Keeping in mind that this is metalcore, the album is pretty close to flawless, managing to seamlessly blend perspicacious lyrics on top of a formidable metal sound, compiled together with expert production. This is an album that has the originally to break down genre walls and create a truly diverse and dedicated fan base. A revised sound that maintains the positive elements of past releases that veteran fans know and love, compounded with enough creativity to attract a plethora of new listeners. It’s rare to find such a definitive offering from an unsigned local band, that I’d consider a shining example of everything that can go right with underground original music. If haters are a sign of success, then SID deserves them. If they have improved this much in 3 years, I’m personally very interested in seeing what washes up on shore in the next 3.
Favorite track – Hitokiri