Freeways - True Bearings (2020) / 87%

Freeways are finally here with their debut full length and I was anxious to hear it after I’ve listened to their Cold Front (2017) extended play way too many times. For those unfamiliar with the Canadian band, it was formed by the two key members of progressive thrashers Droid (worth checking out if you’re into Voivod, Mekong Delta, or Vektor) but they explore something entirely different with Freeways.

Based on what I know of Jacob Montgomery (vocals, guitar) and Sebastian Alcamo (drums), they’re true metal/rock connoisseurs and they know their stuff very well. It’s definitely reflected in the way the album is composed as it’s able to incorporate a lot of different influences in a seamless manner. Joined by Domenic Innocente (guitar) and Amar Amrith (bass), Freeways is a complete unit ready to rock your socks. Even though they’re definitely not exploring untamed musical areas, the Brampton, Ontario quartet are able to distinguish themselves from the pack by their picks of influences. Not a lot of twenty-something dudes are ready to show their love for Thin Lizzy, Blue Öyster Cult, or Budgie, they’re usually more prone to worship Black Sabbath and call it a day…

The big difference between Cold Front and True Bearings is that the band has lost some of the urgency and compact tightness the EP had in favor of a more detailed and smooth sort of songwriting. The EP was a tight affair with songs ranging from 3:30 to 4:15 minutes but they unleashed some longer numbers on the LP – “Time is No Excuse” is almost 7 minutes and it’s excellent.

I’m usually all for grand and epic songwriting (my favourite Rush record is still 2112, you know) but it took me a while to get on board that slight style change. Freeways still had the same heart and catchiness so I finally still fell in love with them again. They took risks and it was a good move. Cold Front has an 18 wheeler on the cover, it’s a fast and strong vehicle while True Bearings has a RV/camper on it, it’s more subtle and it’s perhaps more comfortable in the long run! That’s perhaps the last time I’ll use trucks to make a musical comparison, thanks Freeways!

The guitars are written exceptionally well and played with unparalleled talent for the genre. From the classical guitar bits of “Battered & Bruised” to the metallesque opening riffs of “Eternal Light, Eternal Night”. The instrumentation is rich and varied for such a genre (great keys on “Sorrow (Was Her Name)” and the production is able to compromise between a modern and a retro approach to great success. It’s dynamic, melodic and it’s just damn memorable. It takes you on a ride of feels and different moods, from soulful to driven, to dark and light. I do think they could be even more epic and unleash ten plus minutes songs but that’s perhaps best kept for the future or for bands like Syrinx.

Montgomery also sounds more confident in his clean vocals abilities here. While he’s not the most powerful singer and he’s a guitarist first and foremost if I remember correctly, he’s able to convey many emotions through his voice and doesn’t sound like most people. He’s also very capable live, I have great memories of seeing Freeways during the Trapped Under Ice tour alongside the top of Canadian trad metal (Barrow Wight, Cauchemar, Metalian, Occult Burial) and for me, they were the second best band of that evening as well (I’m insanely in love with Cauchemar).

I’d say that the main strength of Freeways is the ability to be a “retro” band and doesn’t sound like one of them in particular. There’s no pale copying here, just well written original homages to their 70s heroes. I feel Freeways are apt at bringing their blend of enthusiastic and melancholic hard rock to metal fans who are craving some AOR to go with their current black/death/thrash/doom diet. Alongside a band like Hällas, Freeways are ready to make us love vintage rock again.

Originally published on Ride Into Glory. 

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Barrow Wight – Knights in Saurons Service (2016) / 79%

"Wicked men. Servants of Sauron. They are called to Mordor. The Dark One is gathering all armies to him. It won't be long now. He will soon be ready."

Barrow Wight is a band in constant evolution, maybe because except for Andrew (bass/vocals), their lineup has been grandly unstable or maybe that’s just what Middle-Earth metal deserves and Saruman keeps killing their drummers and guitarists. Anyhow, on their debut album released on the great Australian label Heavy Chains, the Canadian trio unleashed their strongest slab of material yet.

Even if this has the best production they ever had, Knights in Saurons Service (an homage to Kiss?) is still a primitive affair as far as heavy metal is concerned. The love for proto extreme metal is clearly in the center of those compositions but there’s an obvious depth found on this record. This can be heard in the “intro” mixing the atmosphere of Lord of the Rings with this cryptic and apocalyptic aura, there’s more than meets the eye on here.

The core of their sound are those super catchy short tracks like “No Sleep Till Gondor” or “The Cult”. They’re bangers full of the punk fueled heavy metal aggression of Venom, Motorhead and even Amebix. This approach combined with the lore of Tolkien works so well. They’re the exact opposite of Summoning but this universe is large enough for both sides of the spectrum to exist.

In my review for their 2014 EP, I said that there was a “certain will to push the boundaries of their agenda” and I was right. They’re starting to experiment with some slower tempos (“Grond” or the excellent “The Palantir”) and it pays off. There’s also some unorthodox moments like the The Doors keyboard break on the title track, this was an insane surprise. To round off their experimentation, there’s subtle nods to 80s goth rock here and there and this just adds to the experience. I think they’re not done experimenting with their blend of proto black metal and heavy metal, they’re still not daring enough!

Andrew’s vocals are blackened croaks and they often lack in power but they really fit the “don’t fuck with me” attitude of his bass licks (check out “Dwimmerlaik”!) No frills guitar riffs, thunderous drums and groovy headbanging is what you’ll get here. It’s not perfect yet but it’s really damn fun and that’s one of the reasons we listen to metal, right? They always give a good show too, they’re charismatic Canadian Hobbit bards who are at their most powerful on stage. Like “Grond” (a battering ram made to look like a wolf head by the Orcs”), the album shatters everything. After Bolt Thrower, it’s pretty much what the Uruk-hai would listen to to motivate themselves.

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Skyless Aeons - The Era of Famine (2016) / 80%

Satiated melodic extreme metal

The first extended play of this Canadian quartet from Ontario is quite impressive. The young men are playing a mix of many metal styles while showcasing their excellent musicianship pushed forward by a professional production.

There’s a rich diversity to Skyless Aeons’ music even though their material is cohesive and doesn’t feel the need to go into extra clean, girlfriend metal territories to get their point across. The four tracks (all between seven to eleven minutes) are progressive affairs without too much flush. The guitars of Nicholas Luck alternates between early 90s tremolos, a modern dissonant approach to black metal and an healthy dose of melancholic Nordic melodic death metal and he plays everything well.

Their sound is accessible (in metal terms, of course, this is still extreme metal) but not too polished. Nonetheless, they could benefit from adding a second guitar to the band as their sound could become even more emotionally complex but still, Luck is everywhere and that’s not really a complaint. It would certainly help them to transfer their intensity to the live setting (I’m saying that but I’ve never seen them live so take that with a grain of salt). The short, well placed solos are also tasteful and I think this side of the band could be expanded.

The vocals of Nate Ferreira are very freaking good, rough and earthy, they’re piercing and striking. The deep death metal inspired growls are one of the highlights of this record. He almost reminds me of British legends Dani Filth (but not as obnoxious) or Dave Hunt (listen to the first part of the title track). Despite the quality of the singer, I do think he’s overly present in the compositions. They should let the songs breathe a bit more. Maybe Ferreira had too much to say? I liked his lyrics though, they’re mostly about we suck as a society and how the earth is doomed.

Watch as our culture crumbles to dust  The earth overpowers our greed and our lust 

They’re a solid instrumental band so it would be enjoyable to get more extended musical sections especially since they compose lengthy numbers. The short introduction of “Contrived Into Form” reminded me of The Gallery era of Dark Tranquillity and that’s certainly a good thing.

It’s a shame that they’re still unknown as they should be opening the tours of Insomnium and the likes, in fact they should probably tour with Be’lakor since the Australians definitely are one of their main inspirations. One of the best new Canadian bands, for sure. They shouldn’t have to show their buttholes to anyone to get some recognition, they’re talented and heir mix of influences feels relatively fresh. They have my full support.

Support the band by buying their album on Bandcamp.