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
Shark Infested Daughters embarks on a western Canadian tour starting Nov 3. You can find music and merch over on Bandcamp.
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!
Edmonton’s death metal legion Eye of Horus have been working on a new EP, and they are ready to unleash it upon the world. Entitled Obsidian, the EP features for new songs and will be ensconced in beautiful artwork by Frederico Musetti, who did their last album’s artwork as well as art for Unbirth, the Everzone game, and more.
According to Facebook, the tracklisting for Obsidian is as follows:
1) The Nithing
3) A Tome Writ In Blood
4) Death Flourished In A Withered Grove
The EP will be officially released on December 3, 2016 with a CD release party at Mercury Room, Edmonton. Presented by Crown of Viserys, the show will bring Edmonton’s Storm Horizon and Skepsis together with Calgary’s Exit Strategy, and of course Eye of Horus, to bring the walls of the Mercury Room down.
This entry was posted in CoV Presents, News and tagged 2016, Bloodbath, Canadian, Death Metal, Dreadmoton, Everzone, Exit Strategy, Eye of Horus, Frederico Musetti, Independent, Obsidian, Opeth, Skepsis, Storm Horizon, Unbirth.
Necronomicon are getting ready to kick Canada in the ass with Abiotic and Vesperia, and due to some unforeseen circumstances their appearance at Filthy McNasty’s in Edmonton is making a venue switch. The new home of the show is Brixx, and all tickets purchased for Filthy’s will be honoured at Brixx.
The new show details are thus: August 17, Brixx (10030 102 Ave NW, Edmonton, under the Starlite Room). The opening act for the show is my boys in Tales of the Tomb, making this show even more incredible.
This entry was posted in News and tagged Abiotic, Blackened Death Metal, Death Metal, Deathcore, Independent, Metal Blade, Necronomicon, Okkultis in Canada Tour 2016, Season of Mist, Tales of the Tomb, Technical Deathcore, Vesperia.
Genre: Hardcore, Post Hardcore
I was given a copy of Failgiver‘s self-titled EP by my friend Cara when she handed me a bunch of other CDs to listen to and review during the 2015 Edmonton Wacken Metal Battles, and today I finally got to listen to the disc.
Four tracks of angry post hardcore are on the docket, but this isn’t just some simple Alexisonfire clone. Shades of Converge, The Wolfnote, Chokehold, and Refused are on display as well as some seriously dark elements. It’s like listening to a screamo EP written by a depressive black metal band. Guitars are dissonant, the bass chugs, and the drums are strangely shallow, while vocals are screamed with incredible intensity, nearly to the point of brutality.
From what I understand, there’s a full length from Failgiver available now or soon, so I’ll be investigating that as well, as I am enjoying this EP.
Hailing from South Carolina, Enthean are coming with their debut album Priests of Annihilation. I am proud to announce that Crown of Viserys is exclusively streaming the fifth song from the album, “Ekpyrosis”!
“Ekpyrosis” is a technical, progressive, and melodic amalgamation of black metal, with heavy elements of death and symphonic black. The rest of the album follows this same basic formula, but everything held within is so different from each other that it truly makes an excellent listen that captures your attention like a tightening snare. Perfect for fans of Immortal, Abigail Williams, and Dimmu Borgir.
This entry was posted in News, Song Stream and tagged 2016, Abigail Williams, American, Black Metal, Blackened Death Metal, Dimmu Borgir, Ekpyrosis, Enthean, Immortal, Independent, Priests of Annihilation, Progressive Black Metal.