The Scrolls of Akhenaten: May 3rd, 2024

Having returned from tour with my band Ratpiss in the United States this past week I encountered a ton of cool bands who definitely deserve mention on this here segment on the Heavy NFLD blog. If any of these band names, album covers, or descriptions entice you then you definitely need to check them out!

Black

Atomic Cretins – Day of Torment
April 12th, 2022
Blackened Thrash Metal
Independently Released
Philadelphia, Pennsylvania, USA
Standout Song: “Day of Torment”

Emerging from the depths of Philadelpha to join the ranks of other Philly metalpunk rebels like Zorn and Devil Master, Atomic Cretins are exactly what I want from blackened thrash metal. Their debut EP is both heavy and ripping while maintaining a spooky, vampiric atmosphere, the perfect mixture for this style of extreme music. The riffs are fast and unrelenting, the vocals are absolutely atrocious (complimentary) and the drumming is pulverizing. All of this is combined with devilish guitar solos that conjure comparisons to Sarcofago and early Mayhem, while the occasional synth passage drapes the EP in a morose quality. With a name like Atomic Cretins it’s no surprise that the band sounds as nuclear as they do, with comparisons to Teutonic thrash outfits of old like Sodom and Kreator also being apt. Don’t sleep on this Philly four piece.

Death

Aroma – Adenocarcinoma
July 14th, 2023
Goregrind / Slam / Death Metal
Independently Released
Philadelphia, Pennsylvania, USA
Standout Song: “Desiccated Scalp Slowly Rotting”

Upon my band’s return route to the frozen northern wastes of Canada we made a stop in the city of West Chester, about 45 minutes west of Philadelphia, where we played in a VFW hall called The Moose Lodge. Among the bands that graced this bill was Aroma, who opened up the show. Their brand of slamming goregrind was honestly a lot more interesting than most bands who I’ve heard in this genre. Instead of relying exclusively on slow, downtuned chugs and pig squeals or gurgles like most slam does, Aroma had a lot of variety in their music. They mixed higher tempo death metal riffs in with the chugs, changing things up on a dime, while the vocals transformed back and forth between deep guttural lows and pained mid-range highs. They were easily one of my favourite bands we played with on this tour.

Doom

Messe – Connemara PL
May 1st, 2021
Psychedelic / Stoner Rock
Independently Released
Bathurst, New Brunswick, Canada
Standout Song: “Cette Étoile Inconnue”

Not a band that my band played with on this tour, but a band that one of my other bands played with on a previous tour from last year. Messe, hailing from the far eastern town of Bathurst in New Brunswick, are pure Acadian rock and roll through and through. Mixing elements of Black Sabbath together with other groups from the same era like Led Zeppelin, Iron Butterfly, Blue Cheer, and more, these guys really embrace that old school 60’s and 70’s sound on this debut EP. While the band has released a new EP this year, this is the one I’m more familiar with so I chose to represent this one instead. It’s loud as hell, with the guitars reverberating and echoing across the boreal landscape all the way to the coast. While the music is all sung in French I think anglophones can still find a lot to enjoy from the instrumental aspect regardless.

Prog

Serling – The James Bevis Chronicles
August 16th, 2021
Mathcore / Technical Deathcore
Independently Released
Bowdoin, Maine, USA
Standout Song: “Time Enough at Last”

Admittedly this isn’t usually the kind of thing I’d be into these days. I had a huge phase in which I was super into mathcore and progressive / technical deathcore about 10 years ago, but the style doesn’t do much for me these days. However we did play alongside a band called Serling at a huge beachside fest in Boston called Weedviolence Fest during this tour, and when I found out that their whole deal is that their music is all inspired by The Twilight Zone I knew I’d have to give them a fair shake. It’s still not really the kind of stuff I personally go out of my way to listen to, but this is music that was made for people who love bands like The Tony Danza Tapdance Extravaganza, Car Bomb, Rings of Saturn, The Dillinger Escape Plan, and The Red Chord. Mathy and heavy as fuck.

Punk

Corrupt World – Watch it Burn
December 16th, 2023
Crust Punk
No Time Records
Burlington, Vermont, USA
Standout Song: “How Can You Justify?”

Ratpiss’ old touring mates in Corrupt World were kind enough to set up the final show of our recent run in the ol’ U.S. of A. in Burlington, Vermont and it was a pleasure to share the stage with them again. If you like noisy as hell, relentless, d-beat crust punk that incorporates elements of grindcore and harsh noise into the mix then this band is for you. This is unrepentant and raw as fuck music that pulls no punches when it comes to grinding your eardrums to dust against the pavement. Just because it’s noisy as hell, though, doesn’t mean that Corrupt World is without a degree of catchiness to their music. Quite the opposite. Many of the songs on this EP have fairly catchy guitar riffs and ripping solos that are derived straight from the Motorhead-adjacent rock and roll stylings of old school hardcore punk.

Thrash

Artificial Scarcity – Empires to Ashes
July 14th, 2023
Grindcore / Thrash Metal / Death Metal
Independently Released
Philadelphia, Pennsylvania, USA
Standout Song: “Free the Land”

While Artificial Scarcity are definitively a grindcore band, it would be remiss of me to ignore the copious amount of thrash metal influence in their music. Perhaps given that guitarist Sam Agnew has played in thrash bands before, it’s a bit unsurprising. It would also be remiss of me to not mention the band that I had just spent the past week and a half on the road with, ripping up venues all across the east coast of the States. Do not skip out on Artificial Scarcity. Not only are they musically impressive, featuring unabashed ripper after ripper across this debut record, but politically they hit the nail on the head. Appropriately calling out the state-imposed capitalist depravity of the modern world, from minimum wage slave labor to the government’s ignorance towards indigenous sovereignty, to the genocide of the Palestinians, to fighting back against state oppression. It’s all gloriously wrapped up in unbridled shred.

Trad

Goblet – Bastard Thrash
September 25th, 2020
Speed / Thrash Metal
Independently Released
Pittsfield, Massachusetts, USA
Standout Song: “Wing Fling”

While Goblet’s music is also undoubtedly rooted in thrash metal, there are elements of other genres present here as well. We get the occasional black metal tremolo-picked riff, while some of the riffage veers into death metal territory. They’re somewhere at the intersection of multiple genres while still feeling very much like just a Capital M “Metal” band. The music contained on here feels just as much influenced by bands like Municipal Waste and Metallica as it does 3 Inches of Blood and other power metal bands that draw upon that NWOBHM sound. We performed alongside these guys at the aforementioned Weedviolence Fest in Revere, Massachusetts and they were easily one of my favourite bands of the night. If you want fucking killer riffs, over-the-top vocals, and speed that kills, then Goblet is for you.

Non-Metal

The Pentagram String Band – Blood Blood Blood
August 9th, 2023
Bluegrass
Independently Released
Kansas City, Missouri, USA
Standout Song: “Mother of Babylon”

Perhaps one of the most interesting bills on this tour was a show we played in Atlanta, Georgia with a couple of bluegrass and folk bands at a venue called The Catacombs. It turned out that both our tours were hitting the same city on the same date so the bookers put us together for a bit of a mixed bill, which I was skeptical of at first, but came to enjoy quite a bit by the end. We performed alongside Johnny Lawhorn, the frontman of The Pentagram String Band, who performed his band’s material solo that night. His music was honestly kickass as hell. This man can play the banjo with a speed I’ve never before witnessed. Describing themselves as “suspicious of traditional bluegrass”, The Pentagram String Band draws inspiration from Satanism, the occult, and traditional Appalachian folk music to create a pastiche of darkness over the typically upbeat genre.

~ Akhenaten

The Scrolls of Akhenaten: April 12th, 2024

This one is coming to you a day late because life got in the way this past week and I didn’t get as much time to hammer out which albums I wanted to recommend to you all on Friday. I was also busy hosting a show at The Traxide in Montreal featuring some rather excellent bands from the Maritimes, namely the blackened death metal stylings of Paratomb and progressive metal wizardry of Omnivide, along with local thrashers Grimhold and death-sludge riffologists Obelisk. Now that I’ve got a few moments of free time to myself this Saturday (between recovery) I’m going to make up for it. Read on for some of your (somewhat) regularly scheduled riff recommendations!

Black

Pakkt – To Brocken Heights Where Witches Dance
December 24th, 2021
Black Metal
Ván Records
Germany
Standout Song: “Three Desecrated Hosts”

The first time I heard this record I was absolutely floored and to this day it continues to shock me. I’d like to thank Devon Milley for this recommendation as it was through him that I discovered this band. I’ve never heard a band so perfectly emulate the sound of Darkthrone’s early material. Everything on this record from the guitar tone to the drum approach to the production to the vocal approach is the closest I’ve ever heard a band mimic that style, and they do it wonderfully. The riffage is so pure and kvlt and trve and devoid of any bells and whistles. Even the vocals sound eerily similar to the range and tone of Nocturno Culto on those classic black metal albums as well as the post-Panzerfaust era of the band. All you have to do is listen to the first track here, “Three Desecrated Hosts”, and you’ll see what I mean. If you’re at all a fan of that style of Norwegian black metal, then Germany’s Pakkt is a must-listen, especially for Darkthrone die-hards like myself.

Death

Human Remains – Using Sickness as a Hero
August 27th, 1996
Deathgrind / Grindcore / Death Metal
Relapse Records
Hazlet, New Jersey, USA
Standout Song: “Weeding Out the Thorns”

I first discovered this band through a video made by the YouTuber known as The Punk Rock MBA. I think that guy sucks but I’d be lying if I said he hadn’t put me on to some cool music over the years. Human Remains is definitely one of those bands. The first time I put this record on I couldn’t quite believe what I was hearing. “A deathgrind diamond” as one Bandcamp reviewer named Brett put it, this thing is fucking weird. There are sounds on here that I didn’t even know a guitar could make before I listened to this thing. It’s exceptionally brutal, uncompromising, relentless, and unapologetically experimental. There’s plenty of moments where the music remains firmly rooted in brutalizing the listener with blast beats and atonal guitar riffs before launching into interludes that feel like they’re drawing upon bands like Mr. Bungle and The Dillinger Escape Plan. Of course Dillinger was probably influenced by this band considering that Human Remains predates them.

Doom

Wardehns – Now Cometh the Foul
December 21st, 2018
Stoner Metal / Sludge Metal / Crust Punk
Independently Released
Wausau, Wisconsin, USA
Standout Song: “Denim Dogs”

I was put onto this band through a friend of mine who just happened to be playing them out loud on a Bluetooth speaker while I was hanging with some pals at their house. I was pretty much immediately hooked by the quality of the riffage, the production value, and just how similar it felt to the kind of sludge metal that I am really drawn to: bands like Mastodon, Kylesa, and Black Tusk. The ones who are a little artsy but aren’t afraid to get deep, down, and dirty with their music. Wardehns certainly scratches that itch for me and I’ve had this record on repeat ever since that initial encounter. It’s monolithic in size, with every song imparting the image of a group of intrepid travelers and warriors climbing their way to the top of a frostbitten mountain, surviving blizzards and avalanches, and fighting horrible beasts all along the way. The album cover is indeed a perfect representation of what kind of music you’ll hear on this thing. It comes highly recommended.

Prog

Omnivide – A Tale of Fire
March 22nd, 2024
Progressive / Symphonic / Technical Death Metal
Independently Released
Moncton, New Brunswick, Canada
Standout Song: “Holy Killer”

I brought up Omnivide in the intro to this article not just to tell you about the show I was at last night, but also as a genuine recommendation for a band that kicks fucking ass that doesn’t live all that far from Newfoundland. This New Brunswick progressive metal outfit just released their debut album, A Tale of Fire, last month, and are currently embarking on a tour across Canada in support of it. Having seen them live a couple of times now as well as having listened to this thing all the way through time and time again I can attest to this band absolutely ruling. If you want your brain to be disassembled and then put back together wrong then this is the record for you. Their music certainly draws heavy influence from big-name prog bands like Between the Buried and Me, but there are also shades of groups like Cynic, Obscura, and Beyond Creation to be found within. If you like any of those bands you’ll almost certainly like this.

Punk

Flower – Hardly a Dream
December 26th, 2022
Crust Punk
Profane Existence
New York City, New York, USA
Standout Song: “Lethargy”

I was lucky enough to catch Flower at Varning Fest last year, an annual underground crust punk and metal festival that occurs in Montreal. They came up from New York City to play here and absolutely tore the place apart. I thought their live performance was already great but it was checking out their recordings after the fact on my own that really sold me on them. This right here is the kind of punk I like the most. It’s loud, aggressive, angry, and dirty as fuck. All the best crust punk is only a few steps removed from speed metal and black metal and Flower really embrace that vibe on this LP. The album opens with an atmospheric blackened guitar riff that reminds me extensively of Gallhammer and Darkthrone, before the unruly punk ripping starts at full force. It’s so gross and nasty, from the raw guitar tone to the punchy drums to the pissed off vocals. Flower are fantastic, and this LP absolutely slays.

Thrash

Phantom – Handed to Execution
October 27th, 2023
Thrash Metal
Inframetal Records
Guadalajara, Mexico
Standout Song: “Reaper’s Bane”

Mexico’s Phantom are pretty much everything I want from modern thrash. Their sound is supremely old school, drawing clearly upon the bands of the 80’s, with the Teutonic sound in particular being a primary influence. If you like Sodom, Kreator, or Destruction, or at least the way those bands used to sound back in the day, then Phantom may be for you. That’s not to discount the American influence in their sound either, because notes of Slayer and Metallica definitely crop up from time to time, but ultimately they keep things rooted in that more aggressive sound that veers on the edge of black metal without ever stepping forth into the blizzard. What makes this album even more impressive is that the dudes in this band are really young, most of them being around the ages of 18 to 20. For being as young as they are they’ve got a fantastic grasp of their instruments and their songwriting capability is excellent. I’m stoked to hear what they put out next.

Trad

I am the Intimidator – I am the Intimidator
March 8th, 2024
Speed Metal / Traditional Heavy Metal
Miserable Pyre
Portland, Oregon, USA
Standout Song: “Eat My Smoke”

I never thought I would unironically enjoy a NASCAR-themed metal band but then I am the Intimidator came out of nowhere and showed me the errors of my hubris. This is the new solo project of former Poison Idea guitarist Andrew Stromstad and the entire thing is lyrically and aesthetically based around the final day of NASCAR driver Dale Earnhardt’s life. If that wasn’t already enough to sell you on the concept, then I’m happy to report that the music contained within is just as fucking awesome. It’s old school speed metal that draws as much influence from Metallica, Motorhead, and King Diamond as it does from a blackened speed metal act like Venom and an epic doom metal band like Candlemass. While the record may be all over the map in terms of influence it is surprisingly consistent all the way through, featuring fabulous riff after fabulous riff and vocals that’ll put hair on your chest.

Non-Metal

Shpongle – Tales of the Inexpressible
March 29th, 2001
Chillout / Psychedelic Trance
Twisted Records
Chobham, England, UK
Standout Song: “Star-Shpongled Banner”

I discovered Shpongle years ago when I was still in high school. While sick and staying home from school one day I went down an enormously long musical rabbit hole on YouTube (this was back in the day before algorithms ruined everything) which eventually led me to a fan-made animated music video for the song “Star-Shpongled Banner”. I was so enamored by the combination of the music with the visuals I was experiencing made that song stick with me for years to come, and to this day I still revisit this record from time to time. While I don’t often find myself listening to electronic music, when I do I prefer the kind of stuff that’s outside the realm of the typical club fare. I don’t go to clubs often, mind you, but I have a hard time imagining that this is the kind of thing played anywhere outside of a hippie drug den. It’s not for everyone, but if you like weird electronica you should definitely check this one out.

~ Akhenaten

Album Review: Vertebraeker – Spinal Sword

“I’ll stab your neck with my spinal sword, I’ll end your life because I’m bored.”

Vertebraeker – Spinal Sword
October 28th, 2022
Thrash Metal / Crossover
Independently Released
St. John’s, Newfoundland

Vertebraeker is a brand new thrash metal outfit from St. John’s that is poised to be the purest representation of the genre within the province. Are you a fan of Municipal Waste? Do you enjoy a bit of D.R.I.? Well, this band, and more specifically, this record, are for you. Admittedly thrash metal is more of a “summer genre” for me, so it took me a while to really get around to this one. I like to drive down the highway with the windows down blasting stuff like this at full volume, or kick up dirt in a mosh pit and an outdoor show while a band like this is playing. Having finally given it a number of listens, however, I feel like my opinion on it has solidified and I’m ready to dig into its meat and tendons.

Spinal Sword, which is as kickass of an album title as you can possibly have, represented by the killer depiction of such a vile weapon in its album art, is chock full of savage, thrashing riffs that will no doubt inspire crowds to mosh and headbang like there’s no tomorrow. This is the kind of music that was written and performed for the purpose of getting drunk as fuck and fucking shit up. There’s no remorse to be found once you hit that play button. You’re in for violence, and violence is what you’re going to get. With song titles like “Death Penalty” and “Daily Shred”, would you expect any less.

The vocals on here, sung by Matt Morgan, are hefty, and perhaps a bit more gruff than what one might expect. They have power behind them and have a bit more of a punk affectation than I initially thought they would, which is possibly why I perceive this record as leaning somewhat into crossover thrash territory a la the aforementioned D.R.I. The vocal performance is great and exactly what this kind of music needs, though I feel like they’re a bit low in the mix. I feel like overall it’s just kind of quiet in comparison to the guitars and the drums.

The riffs on here, provided by the dual guitar attack of John Cooper (ex-Emblem) and Mike Molloy (ex-Mutank) on guitars, with Morgan on bass, are just pure thrash metal, however. There’s a lot of modern thrash worship like on the tracks “Mind Fog” and “Death Penalty” which feel like they could easily have been written by a band like Municipal Waste. Other songs like “Marooned on the Moon” are a bit more melodic and honestly remind me of very early Metallica, whereas the opening riff from “Bog Haunter”, has a bit of an Exodus vibe to it. Some of the later cuts on the album, like “Chopping Block” and “Daily Shred” seem to draw more from that time period when speed metal was merging into thrash metal, drawing upon groups like Motorhead, Exciter, and yes, once again, Kill ‘Em All-era Metallica, as inspiration for the riffage.

The drums, played by Geoff Higgins, are probably the most involved and interesting part of this record. The different patterns played here are varied and dynamic, and don’t rely just on the one-two-one-two that you’d expect. Of course, there’s plenty of that to be had anyways, as you’d want from any thrash record, but there’s other stuff going on as well. I particularly love the blast beat section that shows up only for a brief moment in “Marooned on the Moon” before disappearing, never to be seen on the rest of the record. The track “Bog Haunter” has some particularly interesting and complex drumming patterns as well that really through me for a loop, as does the ending section of “Daily Shred”. The double bass work here is also really damn good, and is a big contributor to the “get the fuck up” vibe this record provides.

The production here is probably where the album loses me a little bit. It’s very clean, almost to a fault. I like my metal to have a bit of grime and filth to it, depending on the subgenre in question of course. With thrash metal I like it to sound a bit dirtier, or perhaps even cavernous. While I’m glad you can hear everything that’s going on I feel like the whole thing sounds just a bit too light. All that it needs to sound more full and heavy would’ve been to add a bit of reverb to it, especially on the vocals. Other than that I can’t complain too much. I think the drums are probably the best sounding part of this album.

This is a pretty solid first effort from Vertebraeker. While I would say that some of the songs on here feel a bit formulaic and tread into the problem that a lot of modern thrash metal has of sounding very samey to other bands in the genre (ie: Municipal Waste has written the same album five times), there’s enough uniqueness here to keep me interested. Songs like “Marooned on the Moon” and “Bog Haunter” stand out on the tracklist for providing sounds that I didn’t really expect on my initial listen, and keep the record varied enough to keep me coming back for more, whereas other cuts like “Death Penalty” don’t really grab my attention. Check this one out and keep an eye on Vertebraeker. Whatever they do next is sure to be just as uproarious.

Final Verdict: 7/10
Good

Favourite Tracks:
“Marooned on the Moon”
“Bog Haunter”
“Chopping Block”
“Daily Shred”
“Spinal Sword”

~ Akhenaten

Album Review: Slowpoke – Slowpoke

“But lately, he hasn’t been around.”

Slowpoke – Slowpoke
August 22nd, 2021
Stoner / Doom Metal
Independently Released
St. John’s, Newfoundland

Slowpoke is the long awaited debut record from the stoner and doom metal trio of the same name. Consisting of frontman and bassist Ben Chapman-Smith, guitarist Cameron Legge, and drummer Adam Young, Slowpoke have arisen in the east Canadian doom metal scene with a record that boasts beefy riffs, a few guest features, and lyrical subject matter that will likely hit close to home for many St. John’s metalheads. So let’s dive in and find out how this record stands up against the riff-laden sea of sludge full of bands who are more or less retreading old ground.

The record has a somewhat interesting beginning, opening up with a bass intro reminiscent of the Motorhead classic “Ace of Spades” on the cleverly titled “Stony Iommi”, before launching into a furiously fast series of thrashing drums combined with a punk approach to the guitars. The track blazes along way faster than you’d expect of a typical band underneath the stoner or doom umbrella, though I feel like I’m getting shades of groups like Mondo Generator and the Melvins on here. The band manages to bring a much faster approach to the stoner genre to the table on this track without sacrificing the atmosphere that the genre typically cultivates. The song does eventually transition into a much slower and atmospheric, almost meditative bridge that brings to mind groups like Kamchatka or Samsara Blues Experiment. This slow, plodding section begins quietly but gradually builds more in volume as the electric guitars begin to duel back and forth between the left and right channels as the acoustic guitars bring up the rear. Near the end the song dips into some Kyuss-esque territory that also conjures vibes of music from the Kyuss diaspora groups like Brant Bjork. At nine and a half minutes long this track certainly brings the thunder as an opener, setting up a strong vantage point from which to continue engaging the listener.

“Slumlord” tips your expectations right on their head, however, as it’s a much shorter, conventional barn burner of a rock and roll track. Reminding me of groups like fellow Canadians, Diner Drugs and Doors & Fours, in the way that the riffs are combined with fast, punky, Motorhead-esque drums. Lyrically the song is, rather obviously, about a shitty, unreasonable, disrespectful landlord, something that many of us can relate to, especially in these times of ever increasing housing insecurity. It’s a catchy little ditty that would be well served with a music video, however my main criticism lies in the vocals. It feels like Ben might not be putting as much emphasis on the cleans as perhaps he should. Maybe it has more to do with the mixing, but I just feel like there isn’t as much power in the cleans as there are in the much beefier and gruffer harsh vocals.

We then come to “Sid the Cat”, a track about a famous city cat affectionately named Sid that residents of downtown St. John’s are all too familiar with, especially since he would regularly chill indoors in bars like Distortion. Musically the song feels much more bluesy than any of the other tracks on this record, making good use of the classic blues scale used by musicians like Stevie Ray Vaughan. There’s a distinct Clutch-esque sound to this sound, though admittedly with a bit of a heavier slant on the guitars, a la a group like House of Broken Promises. I think the clean vocals are better presented in this track, but the harshes are provided by guest vocalist Al Yeti Bones of the band Gypsy Chief Goliath, and he definitely brings a feeling of grandiosity and intensity to the vocal styling present on this track.

“Miami Camo” is one of the slower songs on the record, delving headfirst into some stoner rock tropes with its meditative vibes. Things do change up during the chorus where the pace seems to slightly quicken, and there’s a faster section during the bridge, but overall the song keeps things mid-tempo. Vocally I think this might be Chapman-Smith’s best performance, regarding both clean and harsh vocals. There’s some real power behind the cleans and the growls on here that draw me in. Instrumentally, however, it doesn’t really do much for me. In terms of the riffs and the catchiness of this track I think it’s the least memorable cut on the record.

The following track, however, “Windtalker”, exhibits much more standard rock and roll style riffs, performed in a waltz, and they’re catchy as hell. This song feels like it could’ve easily been written by The Damned Things, from the instrumentation, to the vocal melodies, to the highly melodic, bluesy and harmonized guitar solo. If it wasn’t for the production value and the differences between Chapman-Smith and Keith Buckley’s vocals I would think this was a Damned Things demo. There are shades of other bands like Audrey Horne on here as well, and overall this is probably my favourite track on this record for that reason. I’ve always said I’m a sucker for a catchy hook and this song delivers on that in spades.

“Sanctuary” continues this similarly melodic and simplistic approach to songwriting, presenting some pretty damn catchy hooks throughout its seven and a half minute runtime. I’m reminded of groups like Priestess in the approach to heavy yet highly earwormy riffs, but the song doesn’t stick to one style. There are moments where the guitars chug along like Mastodon while the bass thuds against the inside of my skull like a depth charge. The track doesn’t hold back from including some Josh Homme-esque “woah woahs” during the bridge before going full 60’s psychedelia with the addition of an organ to the song’s already melancholic texture profile.

We then come to the namesake of both the record and the band itself with the nine minute closer song “Slowpoke”. This is by far the closest the band gets to ‘epic’ on this album. It’s slow and plodding in a similar fashion to some of the slower and moodier songs a group like Baroness might engage in. It’s dark and atmospheric and laden with organ passages that give it a spooky tinge unlike any of the other songs on this album. Around the halfway point the track sort of goes into this long winded breakdown that’s focused on the repetition of this one riff with slight variations, and helps reinforce the (there’s that word again) meditative vibe given off by both this song and several others on this record. We also get some guest vocals from Gordon McCready, formerly of the band Headloss and currently of Smyth Valley, though I feel like he was relatively underused, only showing up for one verse. I feel like if you’re gonna end your record with a nine minute cut and you have a guest vocalist in on it, why not utilize them a little bit more?

Overall I think Slowpoke’s debut is pretty strong for a first record. The band clearly has a lot of love for other bands and artists that span the gamut of the ‘riff filled land’, drawing influence from poppier rock acts like Queens of the Stone Age as much as they do the heavier side of things like High on Fire. There’s a diversity of sound going on here, from the hard rock assault of “Windtalker” to the bluesiness of “Sid the Cat”. You’d be hard pressed to find much in the way of sameness on this album. I think the band does a generally good job of writing catchy and memorable tracks, though there are a few tracks that are duds for me personally. I also think the production leaves the record feeling a bit too fuzzed out for my liking, as there are occasions where aspects of certain songs feel muddled and lost in the muck of the stonery fog. Perhaps that was done on purpose, and I wouldn’t be surprised if it was, but I would have liked a little more clarity.

Final Verdict: 7/10
Good

Favourite Tracks:
“Stony Iommi”
“Windtalker”
“Sanctuary”

For Fans Of:
Kyuss
Clutch
Queens of the Stone Age
Priestess



~ Akhenaten

Album Review: Winterhearth – Riverbed Empire

“Beyond the frosted graves!”

Winterhearth – Riverbed Empire
August 21st, 2020
Blackened Death / Thrash Metal
Still Heavy Productions
St. John’s, Newfoundland

Newfoundland black metal thrashers Winterhearth have been around the block for quite some time, first dropping their debut album Curse the Summer back in 2015 featuring the lineup of lead songwriter, guitarist and vocalist Andrew Marsh along with bassist Robbie Butler and drummer Zack Keating. Keating would later depart the band and be replaced by Michael Small who would perform on the group’s second outing, 2016’s Resettlement, an album that received a polarizing response from critical outlets. In the aftermath of Resettlement both Small and Butler would depart the band leaving the future of Winterhearth tenuous at best. However the lineup change didn’t deter Marsh from the path of metal once blackened and he would regroup with bassist Lenny Carey and drummer Brad Ivany four years later to unleash 2020’s Riverbed Empire.

Riverbed Empire begins on an odd note for Winterhearth. The band mostly known for their bestial and fervant brand of death metal draped in the accoutrements of both black metal and thrash metal opts for a piano-led intro on “Marshlands” that starkly contrasts the aggressive bombast of what is soon to follow. The sound of rushing water coupled with the serene piano chords and ethereal vocals provided by Devilment’s Anabelle Iratni conjure beautiful imagery of a marshland drenched in mysterious and oddly captivating mists.

When the rest of the band kicks in they do so with no leniency for the listener. The guitars, bass and drums all crash in at once, barely leaving Iratni any time to finish her melody before being cracked in the skull by the barbaric instrumentation. “Marshlands” sees the band engage in the Immortal school of black metal with a series of riffs that forge ahead at the speed of a gallop a la Abbath. But while that does make up the majority of this song there are still plenty of dynamics, such as when the whole band drops out for a mere three seconds to allow the orchestrations to jump in and fill the gap, leading the listener to hotly anticipate what comes next. There’s another part towards the back end of the song where the folk instrumentation comes in to break up the aforementioned Immortal-esque section and the solo that comes later. For the record’s longest song (eclipsing ten minutes) it’s one hell of a dynamic juggernaut.

The followup, “North Star, Be My Guide” wastes little time jumping into things. After a brief moment of creepy atmospheric guitar the rest of the band bursts into this almost Motorhead or Metallica-esque thrash segment that’s followed up by atmospheric synths that could’ve easily been dredged up from a 70’s horror flick. The Immortal comparisons continue as the band launch into a sonic assault that conjures imagery of Blashyrkh, Antarctica, Atmora and other dense, frozen, glacial landscapes from both myth and reality. There are some absolutely beautiful and epic guitar melodies on this track that really drive home the feeling of the song’s theme, that being an adventurer embarking on some sort of quest through an ancient land.

“Sunset Over Winter Corpses”, a song about Operation Barbarossa and the German invasion of the Soviet Union during World War 2, may be my favourite track on the entire record. The main riff on this song is ridiculously catchy, sounding like something that could’ve easily come off of a Carcass album, pre-Heartwork era of course. The band doesn’t let the catchiness rule the song, however, opting for some truly brutal moments of blackened death metal cacophony that steamroll the listener like a Blitzkrieg, which are juxtaposed against quieter moments that give the listener a chance to breathe in between the absurdly brutal sections.

We then come to the title track, “Riverbed Empire”, which invites further comparisons to Immortal and Carcass with the guitar work. I especially love the dancey drum beats chosen by Ivany on certain parts of this track and there are certainly plenty of other creative elements to highlight. For example there are these really cool alternative picked moments on the guitars that come at the end of certain measures as well as multiple moments throughout where the bass takes the lead, adding further dynamics to the second longest track on the record.

Of course I would be remiss if I did not mention the guest bass solo from Hugo Doyon-Karout, current bassist of Montreal tech death masters Beyond Creation. The solo indeed adds a lot the mid-section of this song, as not only does Hugo’s bass have an impeccably serene tone, but its coupled with some hauntingly mournful synths that add to the glory of this composition.

“First Frost Harvest” invites further Immortal comparisons with its clean guitar intro, though the track definitely throws some curveballs with its other elements. For example there’s a waltz-like jaunty segment early on in the song while the aforementioned clean sections have what sounds like bongos going on in the background alongside some fun basslines. The last few minutes of the track have some super groovy riffage that doesn’t really show up elsewhere on the record, helping this song to stand out on its own amidst the tracklist.

What comes next will be a surprise to old fans. “Beyond the Frosted Graves” bears the title of the band’s debut demo released way back in 2013, which launched the group’s seven career leading all the way to 2020’s Riverbed Empire. In true callback fashion this song ends up being one of the most straight up ‘metal’ tunes on the record with savage riffery and a truly thrashy, blackened feel that hearkens back to the Teutonic days of Sodom and Kreator. This track may be the most perilous assault on the senses that the boys from Bonavista offer up on this hour long slog of devastation, and is one of my personal favourites from the album.

“Beyond the Frosted Graves” is followed by “Charmed (By the Dead)”, a song that many will recognize as the lead single that dropped from Riverbed Empire, as well as being released on Still Heavy Production’s compilation album Still Heavy Eastern Canada in December of 2019. This song brings out the band’s influences from the Gothenburg melodic death metal world in full. “Charmed” has some of the most melodic guitar moments on the record which conjure similar tastes to early Arch Enemy and At the Gates. Of course the influences from Carcass are still a hefty portion of the overall brew.

“The Shipwright” continues this approach of blending Gothenburg style melodic death metal with the more aggressive tendencies of Carcass and Immortal to form a unique cocktail of all things good about extreme melodic metal. Notably Marsh has a slightly different approach to the vocals on this track, opting for more of a Sodom or Kreator-esque raspy shout than his typical black metal snarl. This track definitely stands out as one of the thrashier offerings on the album and is a welcome addition to a tracklist full of malignant atmosphere.

“Infliction” brings an end to the record with some of the most relentless and brutal riffage. There are a lot of dynamic changes on this song with lots of intricate sections that differ wildly from one another. It’s kind of a riff-salad sort of affair but I feel like this kind of approach is a great way to end this record. It’s like the band took all the influences present on the rest of the album and threw them all in a blender for the finale. The drums blaze along at the speed of a stealth jet and the guitars and bass hold nothing back as they whip the listener’s ears with callbacks to the thrash gods of old through wicked solos and maniacal fretwork. The track finally ends with the same piano melody from “Marshlands”, allowing the record to come full circle as it leads back into the intro from the beginning of the album.

While Riverbed Empire starts off on an epic and grandiose note with its piano-laden intro and mournful tones in the first half, the second half of the record is notably more aggressive and down-to-earth in terms of its influences. It feels as though the thrashier side of Winterhearth wins out on the last four tracks whereas the influences of Scandinavian black and death metal reign over the first five. It’s a unique contrast that places the band’s style somewhere west of Dissection and Immortal and north of Carcass.

As the group’s third full length album Riverbed Empire may be Winterhearth’s best effort yet. It takes the relentless blackened fury of Curse the Summer and the disparate death metal barbarism of Resettlement and melds the two together into something that is wholly unique for the metal world of Newfoundland and Labrador. Nothing of this scope has ever really come out of the province and for that feat alone this record should be lauded. Though it may drag a bit in terms of length and there may be the occasional recording hiccup in some tracks Riverbed Empire will surely go down as one of the best metal albums to ever come out of Newfoundland. It sure is one hell of a way to start the decade.

Final Verdict: 9/10
Awesome

Favourite Tracks:
“North Star, Be My Guide”
“Sunset Over Winter Corpses”
“Beyond the Frosted Graves”

For Fans Of:
Immortal
Dissection
Carcass
(early) At the Gates
(early) Arch Enemy

~ Akhenaten

Doom ‘An Blue Release New Single and Music Video “Wicked Serotonin”

Doom 'An Blue - Wicked Serotonin 2

Montreal two-piece rock and roll outfit Doom ‘An Blue, featuring Newfoundland native Lee Whiskey and Montreal drummer Jimmy Antle, released their debut single “Two-Bit Son of a Bitch” back in June of 2019 along with an awesome accompanying music video directed and shot by Doomed Caravan and Scatha bassist Cintia Ventania.

Almost a year later the band has regrouped to release their second single. Entitled “Wicked Serotonin”, the track features Turbo Haus co-owner Dan Matheson on bass and Doomed Caravan frontman Jesse James Dimitri on vocals. The song is a slow and groovy jam in the vein of Ozzy-era Black Sabbath with vocals that sound like the love child of Motorhead and Pantera.

You can check out the new single and its accompanying music video, once again shot and directed by Cintia Ventania, through our YouTube embed below. The track is also available on the band’s Bandcamp page.

~ Akhenaten

Hefe NFLD: Mistwalker – N.W.O.N.F.L.D.B.H.M.

Mistwalker - NWONFLDBHM

Mistwalker – N.W.O.N.F.L.D.B.H.M.
October 31st, 2019

Blackened Heavy Metal
Viridian Records
Glovertown, Newfoundland

On January 17th, 2020, Snowmaggedon descended upon Newfoundland (NL), which resulted in an almost 100 cm burial for the most populated area of our isolated Canadian rock. This storm closed down a number of municipalities while the public tried to dig up and out of their homes. Eight days total of snowed-in isolation. What better time to listen to black metal and have a few beers, right?!

Mistwalker, a solo black metal outfit based in Montréal (but from Glovertown, NL), released a five track EP back in October of last year. All twenty four releases Mistwalker has done up to this point has been the work of Greg Sweetapple, a name that has become synonymous with the Newfoundland metal scene through his various projects. This EP is more or less a blackened love letter to that very scene and province with a title that plays on the New Wave of British Heavy Metal (NWOBHM) moniker. New Wave of Newfoundland Black Heavy Metal, is exactly what it says on the tin, so let’s dive in…to the sin…for the win?

N.W.O.N.F.L.D.B.H.M. (try saying that 10 times fast) starts with its title track, and right off the bat, the guitars are singled out to set the static-y and groovy tone. Once the bass and airy drums come in, the overall crust is introduced and really hammers home that this is black metal. What ties all this crusty chaos together is the combination of Abbath-like growls and shouting vocals drenched in reverb, creating a cold and cohesive product. It’s darkness grooves along until the song “Penchant for Pendants”, which has an almost Blind Guardian / Iron Maiden melody and gallop! This is achieved while still retaining the crust and crunch from the intro track, and is reinforced in the verses. It’s a raw but focused glimpse at what this cold island has to offer, while not being afraid of melody.

This five track release is consistent throughout, while also introducing new vocal techniques, grooves, and ideas. Even on a shorter track like “Bastant Fist Assault”, its full of vocal variation by utilizing spoken / shouted growls, deep gutturals, and higher pitched / tortured / traditional black metal screams. The latter half of the EP is more akin to shoving Immortal and Motörhead in a blender with some crushed ice. It being five tracks means that it doesn’t overstay its welcome and it’s a great way to introduce someone to Mistwalker and our black metal scene (especially since the title track also calls out the other bands on the island…which is deadly!).

Beer. It’s time for beer. As promised by the title and what I alluded to four paragraphs ago, the time has come for me to pair this chilling black metal release with a beer. When pairing albums with alcohol, you have to take into account a lot of variables in order to make the perfect harmony between taste buds and ear drums.

The overall feeling I get from this EP from about five or six listens is how chilled it is with the reverb on the vocals and the cold / loose production. Therefore, The “Small Batch Peppermint IPA” by Moosehead Breweries Limited in Nova Scotia is my choice.

Moosehead Small Batch Peppermint IPA Logo

The hoppy nature of your standard IPA can be found here, but with a frosty aftertaste of peppermint that gives you an extra sensation of winter across the pallet. An IPA is ideal for this blackened sound due to how both typically pack a bold / strong punch. They both also has a reputation for scaring away newcomers. The peppermint flavour creates a new and unique way into that particular subgenre of beers by providing a familiar flavour. Just like how I believe Mistwalker is a great for someone new to black metal, this beer is for those wanting to expand their pallet without jumping off the deep end. It’s limited run beer, so get your hands on some while you can! If you can’t, the more commonly available beer I would suggest would be “Goose IPA” by Goose Island Brewing! Cheers to you, go get your beers,and plug some Mistwalker in your ears!

Goose Island IPA

~ John N. Roach

ZZ Top and Cheap Trick to Play Mile One Centre

ZZ Top

Texas southern hard rock legends ZZ Top will be making the trek to St. John’s next May for a performance at the Mile One Centre as part of the group’s 50th Anniversary Tour. The band was inducted into the Rock and Roll Hall of Fame in 2004, have released 15 studio albums and as of 2014 have sold over 50 million albums worldwide. ZZ Top joins the growing list of hard rock and heavy metal superstars to have played in the island province, including KISS, Aerosmith, Nazareth, Alice Cooper and Motorhead.

Joining the band will be Illinois power pop and hard rock legends Cheap Trick, who were also inducted into the Rock and Roll Hall of Fame in 2016. Cheap Trick themselves have sold over 20 million albums worldwide.

The concert will take place on Saturday, May 23rd and tickets go on sale Friday, November 29th at 10:00 AM. Tickets can be purchased either at the Mile One Centre website or by calling the box office at the number 1 (709) 576-7657.

~ Akhenaten

Sons of an Eastern Moon Win Still Heavy Halloween Battle of the Bands

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Still Heavy Productions hosted their annual Metal Halloween Battle of the Bands this past Saturday on October 26th at Treble Lounge and by the sounds of it it was one Hell of a show. The prize for this year’s winner was the chance to be featured on Still Heavy Eastern Canada, an upcoming compilation album featuring heavy and alternative bands from as far east as Newfoundland to as far west as Ontario. CBS thrashers Pearl, St. John’s punks Dead Inner Youth and local scene mainstays Sons of an Eastern Moon competed this year for the compilation album slot and the winner, by unanimous decision from judges Ward Pike, Dillon Collins and Brad Tulk, was Sons of an Eastern Moon.

Also performing at the event were openers Last Cigar and fellow scene mainstays Winterhearth who not only debuted a new song but had former bass player Robbie Butler jump on stage with them to perform “Lake of Blood” and a cover of the Motorhead classic “Ace of Spades”.

We don’t yet know which Sons of an Eastern Moon track will be featured on Still Heavy Eastern Canada but the band will be showing up alongside Warmachine (Ontario), Brought by Pain (Quebec), and Death Valley Driver (Prince Edward Island) amongst others. Stay tuned for more information on the album’s release date as we learn more.

~ Akhenaten