Suruni - Ikuus (2014) / 77%

Dark and lo-fi exploration

The musical child of Sakari Piisti, Suruni from central Finland is a weird project to describe but I'll attempt the task anyway since I never run away from musical adversity. “Not for everyone” can easily describe this album, it's an unorthodox mix of experimental raw black metal with noise, ambient and drone all under a voluntary lo-fi approach.

One of the things that surprised me is the bass, it's freaking loud and I really like how it's played. I often wish this instrument would be more prominent in black metal and it's the case here. It's well incorporated in the sonic chaotic mass enriched by the use of acoustic guitars and some other nontraditional instruments (is that cello???). It's pretty slow stuff and it reminds me of the avant garde nature of Sami Hynninen's Opium Warlords and Armanenschaft projects. The overbearing bass licks are definitely a big hint to that.

Suruni felt like it doesn't have a metal core since there's so many additional elements to be considered but underneath everything, there is an undying dark atmosphere possessed by raw black metal riffing and a bunch of melodic clean guitar parts. It's simplistic but there's some really beautiful moments like the ethereal guitar at the end of “Ei Se Ollut Vahinko”. The drums (unsure if they're programmed or not) are fun albeit located in a weird place in the mix, they're kind at the forefront of the sound. This really adds to the uneasy feeling this album gave me.

Piisti's vocals (when there's some) are a mix of black metal shrieks and buried clean vocals, it fits well with the music but they could have be a bit more powerful. The project is more about instrumental landscapes and it's showcasing its wide range of influences (the instrumental black metal country of “Akana” is a clear highlight.) There's also this sort of martial influence sometimes approaching Akitsa.

Ikuus is a a decent and original album but there's still a lot to improve to play in the “big leagues”. The production, raw but melodic, is actually pretty interesting but I'd like to get more meat in the songs. That's a good debut, follow this band with me if you're into adventurous music without compromises.

Thanks to Sun & Moon Records for the CD copy.
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RRROOOAAARRR DAY 3 - August 3rd - Incantation/Revenge/Abyss/Sabbatory/Occult Burial/Phobocosm @Sala Rossa, Montréal

DAY 3

Finally, the last day of the festival with perhaps my most anticipated band yet, Incantation. The crowd was a bit bigger for Blasphemy's gig until the 2 last bands on the bill, then it got a bit more crowded.

After a visit to the well furnished merchandise stand of Incantation (grabbed a shirt and a patch), we joined the limited number of people for the first band, the gig started earlier on Sunday so I guess that's one of the reasons why not a lot of persons were attending.

Phobocosm (7:00-7:20)

This newish death/doom metal band plays a lot locally so that's probably another reason a lot of people didn't show up that early. Their cavernous and atmospheric sound was quite enjoyable and even though it was my third time seeing them, they were still pretty nice. I can't wait for the release of their debut album (release gig with Adversarial, Thantifaxath and IRN)

8 dark as fuck occult death metal out of 10

Occult Burial (7:40-8:00)

This trio from Ottawa replaced Prosanctus Inferi (who cancelled like less than 2 weeks before the show). They play some sort of blackened thrashy heavy metal and they're intense as fuck. They mix the proto black metal of Bathory and classic Canadian speed metal with the melodic might and soloing of NWOBHM.

7 mullets and biker boots out of 10

Sabbatory

Sabbatory (8:20ish-???)

From Winnipeg, these guys signed to Unspeakable Axe Records, the younger brother label of Dark Descent records played a high intensity short set mixing old school death metal and thrash in a fast, solo heavy formula. Reminding me of early Pestilence. Decent stuff albeit a bit generic.

6,5 Winnipeg Jets out of 10

Abyss (???-9:50ish)

This obscure band from Toronto were a fucking cool surprise even though I checked their live album before the fest. They play a super fast sort of death metal with some crust, hardcore or grindcore influences. The bass was super loud and the singer was a formidable frontman. Super good, a band to watch, I simply wish they had a better, more original name.

8,5 creepshows out of 10

Abyss

Incantation (10:20 to 11:30ish)

One of the death metal masters played a long set composed of both old classic stuff from albums like Onward to Golgotha or Mortal Throne of Nazarene or their newest albums like Vanquish in Vengeance. I have no idea why they weren't the headliners since de facto, they definitely were. Pretty much a perfect band on every level, they just ripped. They played mostly fast, to the point tracks and it worked quite well. They still have it and I was glad to finally see them since it's been a while since they played in Montréal.

10 live blasphemies out of 10

John McEntee!

Revenge (12:00-no idea)

I was so tired and I don't like Revenge so I ditched after 2 songs.

3 days of pure insanity out of 10

It was an excellent festival, the crowds were good, it was well organized and it had a varied, interesting and cool line-up. I didn't go to any of the punk gigs and that's something I'd like to try next year depending on who's booked. 18 bands in 3 days was a lot of metal to enjoy, it was an incredible time. Let's hope for some international bands for the next edition (looking at you Bolt Thrower!)

Follow the festival here: RRROOOAAARRR

RRROOOAAARRR DAY 2 - August 2nd - Blasphemy/Black Witchery/Innumerable Forms/Funebrarum/Hellacaust/Oath @Sala Rossa, Montréal

By Calum Fraser, Stéphane Pilotte and Antoine Richard

Day 2

The second day of the festival at the Sala Rossa, this time it's a death and black metal night with some newcomers and some cult classics. The weird fat chick who was attempting to mosh yesterday was there but only outside sleeping, chainsmoking and panhandling as she probably didn't have the cash to enter the venue. A funny sight.

Oath (9:00-9:20)

Oath, a new Sherbrooke death metal band opened the gig, they were pretty energetic and they had stage presence. The ripped handsome singer was pretty good and the drums are excellent. Nothing overly special but their blend of dirty, catchy old school death metal works. They need to release something already though, the singer said that a six songs release is almost done so that's good news. One of the most promising Quebecois band.

7 juice monkeys out of 10

Hellacaust (9:40-10:00)

From Stéphane's hometown of Halifax, these greasy death/black metal dudes played a bunch of groovy songs with cool solos with thrash and crust influences. Half their set was new songs and it's cool to hear new stuff from them after a six years studio break. They definitely know how to compose catchy stuff and the crowd seemed to be into them.

7 Trailer Parks out of 10

Hellacaust

Funebrarum (10:20-10:50)

One of our most anticipated band of the festival, these old school death metallers from New Jersey played a fucking pristine set. Veterans of the American East Coast scene with members or ex members of Disma, Incantation or Evoken. They managed to get a good pit going and the singer was very damn engaging. They had a short set but they made the best of it, “Depths of Misery” was a real highlight, they need to come back to Montreal and play a full set!

9,5 Martin Brodeur out of 10

Funebrarum

Innumerable Forms (11:10-11:40)

A one man band formed by Justin DeTore (Magic Circle, Soul Swallower...) but helped on stage by 2 Mammoth Grinder members. They were probably the most sonically massive band and the Justin has a very good stage presence. They played a cover from a Swedish band (no idea who was it though) and it very intense. Chris from Mammoth Grinder has a permanent grumpface, smile motherfucker. The band needs to release a full length already!

8 permanent massive grumpfaces out of 10

Black Witchery (????-1:30)

These make-up loving manchildren took forever to get onstage and the delay was in no way worth it. The drummer looked chronically butthurt, constantly experiencing technical difficulties. Not that his drumming was in any way worthwhile. He just blasted along haphazardly, playing the same beat for the entire song (with a terrible tone to boot). The band tried so hard to come off as evil and cold, but in the end they sounded boring and looked profusely goofy. Some would say they're a chaotic force (*cough*Tony*couch*), but what they did was a lame excuse to play generic, samey monotonous horseshit for 45 minutes straight. They made the whole show almost an hour late because they took too long to apply their makeup. The only bad part of this evening.

4 Make Up Wearing Manchildren out of 10

Blasphemy (1:50-2:40 or so)

This shit right here more than makes up for Black Witchery. Just as impressive as their frenzied war metal assault was their truly imposing stage presence. Composed of huge powerlifters who would have no qualms about kicking your pansy ass, these behemoths played with purpose. For some inexplicable reason, there was this one incredibly massive dude who looked straight out of WWE standing on the side of the stage looking scary for the duration of the set. Metal can sometimes be silly in how exaggerated everything seems, but this was over the top in the best way humanly possible. They didn't look like some skinny basement dwellers trying to look evil, these guys are probably of the ilk you would meet in a maximum security lockup.

9 Jacked Up Ross Bay Cemetery cultists out of 10

RRROOOAAARRR DAY 1 - August 1st - Noothgrush/Iron Lung/Haymaker/Mammoth Grinder/Uniform/Ahna @Sala Rossa, Montréal

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Lucifer's Fall - Lucifer's Fall (2014) / 91%

Knockin' On Hell's Door

I've been following the development of this project since I heard the Dungeon Demos 2013 rough rehearsal. My crave for their traditional doom approach has finally been fulfilled with the release of their first self titled album (out digitally for now, out physically this Autumn.) The main dude, Phil Howlett has been quite active since the formation of Rote Mare in 2005 but I never quite got into this band. I thought it was usually long-winded and that it didn't have the trad doom passion found in grander oeuvres. It wanted to be more than what it was with the inclusion of harsh(er) vocals and it didn't quite work.

Fast forward to 2014 and we have Lucifer's Fall, a neophyte could question the need for a new doom project created by Howlett but I really won't since this is widely different in its approach. It's like he stumbled into Wino, Chandler and Albert Witchfinder and ate some shrooms all night. It's way more focused, full of might and, primarily, doesn't try to reinvent the wheel by adding unnecessary estranged elements. The raw production compliments the carefully composed bass and guitar lines very well, it's heavy, never too slow and it knows when to be groovy. It's textbook trad doom of the higher calibre and considering that's perhaps my favourite metal genre, this album is freaking marvellous.

As Satan is my name! Lucifer's Fall! Cast down from Heaven!

I kind of believe that the whole Satan subject is tired but it's definitely a classic one that I'll always welcome. I'd like bands to be a bit more original theme wise but there's nothing wrong with sticking with the good old formula and Howlett does it well. He's proving that he really feels the genre, doom is about guts and feeling and it's the case here. His vocal delivery is top notch, clean and adequate vocals with a lot of power and personality. He's even delivering some high pitch lines similar to the The Wizar'd's latest doom masterpiece. The slower moments of tracks like “A Sinner's Fate” almost reminds me of the atmosphere bands like My Dying Bride were able to convey early during their career. It's emotional, well written and doesn't drag even though some tracks are on the longer side (nonetheless, never more than ten minutes.) The editing is good unlike many of their current peers and their blend of doom and heavy metal has a clear sense of direction.

Australia is not well known for its traditional doom metal but rather for its more extreme doom with bands such as Mournful Congregation. Hence this fact, the band worships at foreign but interesting altars. The main one being located in Finland, you can certainly hear Reverend Bizarre and their disciples (The Wandering Midget, Caskets Open...) on Lucifer's Fall's music. There's this sort of cold tongue in cheek darkness particular to this Northern Europe (or Scandinavia depending of your point of view) and the Aussies have it too, they probably spend a lot of time in the desert at night.

The album respects the forty minutes unwritten rules and is a blistering, catchy, intense doom release deserving to top the best of lists of 2014, a feat I never thought possible of Howlett's Rote Mare project. He lets everything loose here, like the best doom albums, it's emotionally draining in its self pity and its classical darkness.

Mandatory doom, gentlemen.

Bandcamp

Wo Fat - The Conjuring (2014) / 85%

Deep Fried Doom with a side of blues

The boys from Dallas, Texas are back with their fifth album since their inception in the early 2000s and it's a fucking massive album. After their excellent 2012 album The Black Code which probably was the band at its peak, they really didn't have to change their sound for their new album since they reached a perfect understanding of it.

The trio led by Kent Stump rocks super hard and even though they're from the Obese nation of America, they're all pretty thin dudes. Pretty disappointing considering the name of the band but oh well, their riffs are greasy as fuck nonetheless. Musically, it's quite groovy and the guitar, bass and drums formula works well within their boundaries. The basis of their compositions is huge doom/stoner metal which is deeply rooted in southern American blues so you can definitely feel the melting sun of Texas on your forehead with these guys. The guitar playing of Stump is superb, he's delivering intense, heavy yet catchy riffs alongside long ass solos with a jam band feeling. There's a perfect harmony with the rhythm section composed of Tim Wilson and Michael Walter, the band has been playing together since the beginning and no lineup changes has plagued their unity (something unfortunately rare nowadays.)

Stump also sings but the vocals are far from being the focus of Wo Fat (damn, I like saying their name, it feels like eating a deep fried Oh Henry or something.) They could be an instrumental band for all I care and it won't change what I think of them (in fact, there's an instrumental version to be found!) The closer “Dreamwalker” is a seventeen minutes song so there's not a lot of vocals and nevertheless,  it's never boring. They always added subtle but enjoyable psychedelic elements that are only giving another layer of intricacy to the band. Their music can feel a bit overwhelming at times, it's full of emotions and grasping but the length is perfect for them, it's much more condensed than their two debuts (both like seventy minutes, that's just too much, brothers)

The vocals are sparse and nothing special overall. It's gnarly clean but drunken vocals. He's good enough for what they're doing but don't expect anything spectacular on that front. There's this huge blues influence such as in “Pale Rider From the Ice” with its slide guitar riffs and groovy, sentimental vocals. Their lyrics are pretty decent, psychedelic, metaphorical fantasy based themes are their forte for this one compared to the science fiction/pulp of The Black Code.

I can certainly fee the Kyuss influence here, it's crossing the stoner rock frontiers quite often and even though it remains a metal band, they're not that heavy. I'm sure that if I show Wo Fat to some old bluesemen, they'll dig them. There's this certain honesty about them that you can't simply can't fake.

Before the enjoyment of this album, you will need:
-A sixer of cheap watery beer.
-Some BBQed chicken and sausages with perhaps some Tex Mex food.
-Old Stevie Ray Vaughan and ZZ Top vinyls.

Wo Fat's Fatbook page

Barrow Wight - Power from the East (2014) / 74%

Look into the Palantir!

This trio from the Canadian capital of Ottawa plays a very old school sort of metal and they do it quite well. Led by a cool dude from Manitoba called Andrew, Antero, Aragorn or something, they're inspired by all the right things. Their music fits the 80s revival that we're living nowadays but it's not as cheesy as other Canadian stuff such as Cauldron. It's sure is sloppy but I like my cheeseburgers with a lot of melted cheese so I'm totally fine with that sort of metal.

I remember getting their latest demo at a Natur gig in Montréal (live review here!), it was enjoyable but pretty fucking raw so I decided to wait a bit to cover them. Now with their first EP (now released by both Heavy Chains and Dying Victims after an indie tape release) is still raw on the edges but the production is pretty much perfect for their brand of ultra traditional heavy metal mixed with the oldest black metal influences you can find. Think of Venom at its dirtiest, old funny Anvil and Bathory at its formative stage and you're on the right track. Instead of the evil approach of Cronos, Barrow Wight (formidable name) explores the Lord of the Rings lore and even if it's perhaps an overdone subject, it's always a very cool one.

It's gritty but quite melodic too, songs like “Rock into Mordor” (haha!) has a nice sing-along chorus and sweet, simple guitar playing. The band just fucking rocks the Middle-Earth with groovy riffs, semi harsh vocals with a very greasy bacon vibe, it's not quite excellent but it does the job. Nothing is tight because nothing needs to be, it's a crusade against modernity and the saccharine elements it brought to the genre. Fuck modern Septicflesh and its sterilized approach, this is fun, raw and metal as hell.

The five songs, twelve minutes extended play is short and it's easy to just press the repeat button, it starts with this noisy evil intro and extends to this nasty “Anvil of Mordor” affair. The songwriting remains simple, perhaps not yet well refined yet but their goal is clear and quite achieved for a first professional release. Don't expect to be blown away by anything here but it's entertaining and you'll spend a good time with the Wight. The drums are nice, the bass is loud but could be pushed to higher grounds and there's a certain will to push the boundaries of their agenda further in their sound and I'm sure it will be explored.

Garnished by a cool drawing from Ian Miller, an authority in fantasy art (Lord of the Rings, Dungeons and Dragons...), Barrow Wight doesn't mess around and release a promising, catchy and metal to the bones EP. Not the most original thing around but check if they care, that's not the point and it shouldn't be enforced!

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