Local Sounds: Volume 1.0

Here's the first volume of a series highlighting the best non metal music of Montréal, Ottawa, the province of Québec, the province of Ontario and their surroundings has to offer (hardcore, rock, punk, post rock and more). All of today's picks are free downloads (or pay what you can) on Bandcamp so there's no reasons not to support and listen to these great bands.

She Serpent – She Serpent (2015)

This Montreal quartet formed in 2014 and released their first extended play in February of this year and it's superb. The four songs release is full of heavy bass licks and thunderous guitar riffs evocating the coldness of 80s post punk, the psychedelic/kraut repetiveness of Loop and the modern contributions of Interpol, Savages or even Bosnian Rainbows. The vocals of Melanie Brenda are the highlight here, they're powerful, entrancing and possess this sort of androgynous quality befitting of the post punk style. A super great discovery, I must see this band live!

She Serpent on Bandcamp

Pluum – Pluum (2015)

Pluum (based on the word "plum", a tasty fruit) released their first EP in July and it's a pretty damn cool piece of music. Influenced by the likes of At the Drive-In, it's emotional post hardcore with some clear atmospheric and shoegaze moments. The vocals of Xavier are purely in the harsh screamo territories and it creates a sort of dichotomy when confronted with the clean guitars.The three songs are short, packed with a lot of energy and diversity and never boring. It's heavy (listen to “Monday”) but it's always quite beautiful and has these pleasing lush melodies. A very mature first effort from these guys.

Pluum on Bandcamp
Next gig @Turbo Haus

Durs Coeurs – Durs Coeurs (2015)

From Ottawa, this punk rock band formed by Patrick Pageau (the ex drummer of doomsters Cauchemar and the guitarist of the now defunct trashers of Bastardator), Durs Coeurs is frankly awesome. Even though they're the only band not from Quebec featured here, they're the sole one with French lyrics and that's pretty cool.I'm not a big conoisseur of punk but I dig their old school approach, there's also plenty of rock & roll in Durs Coeurs (hard hearts) and I freaking love the guitar tone of Pat. The vocals are manly and the lyrics are simple, well written and downright fun to sing. If you like the poppy, super fast and melodic punk of Ramones, you'll like this demo a lot. Dan Lee, the drummer of the black/thrash band Occult Burial and heavy metallers Iron Dogs drums on this and the speed he brings certainly fits their sound. Highly recommended, I just can't stop listening to this.

Durs Coeurs on Bandcamp

Angles - Lysergic Eucharist (2015)
Formed by Sean Arsenian of The Great Sabbathini (sludge), the leader of Animal Ethics (punk/hardcore/noise) and the drummer of IRN (sludge/doom), Angles is somewhat of a Montreal super band and their first release certainly proves that their collaboration is one of quality. The six minutes release is a mix of powerviolence, non metallic grindcore, some doom (the closer "Brautigan's Gun") with some sort of psychedelic/spacey vibe that's covering the whole thing (just look at the three eyed undead Jesus on the cover to have a visual summary of that). It's nasty, fast as fuck but it's not savage, it's intelligent and nowhere near sloppy. It reminds me of Kylesa but mixed with the impressive power of Nails. Bonus points for their great song titles like “Tampons In September” or “Alcoholic Cousins”. I feel bad for missing their first gigs, I'm sure it's something special!

Angles on Bandcamp

Wolfshead – Caput Lupinum (2015) / 85%

Tête de loup

Fall of the Idols are definitely one of the most underrated doom bands in the world and they've been on a sort of hiatus since their last album released in 2012 and after the death of one of their members. They promised to release one last album though and I'm sure it will be quite good. In the meantime, we're served with the first extended play (after two demos) of a newer project with one of the founding members of FotI, the bassist Vesa Karppinen. One of the two composers of the album alongside Torture Pulse's (death metal) frontman Ari Rajaniemi (guitars), Vesa penned the title track of the album alone (Caput Lupinum means wolf's head, I felt like a noob when I used Google to translate that) but the three other songs were collaborative efforts.

Wolfshead, unlike Fall of the Idols, is bombastic and harsh heavy/doom and it doesn't take (or lose) its time with longer songs and while the closer “A Shadow in the Rain (London 1888)” is almost seven minutes, it doesn't overstay its welcome at all and remains a concise affair. They remind me of Serpent Warning's (they played with them in their native country, so far away from me unfortunately!) groovier and shorter tracks (their debut album released last year is excellent) or Grand Magus's pulverising riffs. The four tracks release has plenty of riffs and you can definitely feel the influences of fast paced doomsters Pentagram or the bluesy might of Motorhead in there. The vocals of Tero Laine are sung cleanly but they possess this harsh quality not dissimilar from a Lemmy turned doom. Tracks like “Leave Me Burnin'” are tons of funs with a sort of NWOBHM feel and proves that the band can write compelling and varied songs without losing their focus. I feel they have everything that's necessary to release a strong full length album. All their riffs are good, their production is solid and rock hard, their theme and aesthetic are well developed and their vocals are distinctive and original.

With Caput Lupinum, the quartet wrote a pretty impressive EP with strong emotional, catchy and heavy songs and they show all their different sides with it. Also, be sure to check out the other band of Wolfshead's guitarist, the excellent and more adventurous Deep River Acolytes, they're also worthy of your time and money. Oh and it's really hard to draw realistic boobs, the artist unfortunatlely failed the task!

Bandcamp 

Leeches of Lore – Motel of Infinity (2015) / 95%

Room service is here and it's freaking delicious

One of the oddest bands in America but also one of the most interesting and talented is back with their fourth full length after a short hiatus and I couldn't be more pleased. They once again released a masterpiece and it's a shame that this band isn't widely acclaimed. The New Mexico trio led by Steve Hammond (guitar, vocals) has always been a peculiar beast and a superbly varied affair. They're an extraterrestrial being who's not afraid of experimenting and breaking the boundaries of music's apparent limitations. From fast paced and thrashy heavy metal to noise rock, drone (their Giant Sloth extended play) and Western, these guys can play anything while never being totally confused of confusing. They could be compared to Melvins, the godfathers of weirdness in terms of vision and and for their numerous genre jumping jacks. They also really love the Washington state band, Hammond covered some of their tracks on his solo releases and they got the help of longtime Melvins producer and guest musician Toshi Kasai (who also plays additional instruments on this record) to produce and record Motel of Infinity. This dude definitely gave them their best production yet

Starting with the first thing I've noticed: the cover art, I think it's a good representation of the spirit of Leeches of Lore, an old cheap motel with a view on a clear and beautiful sky. I think it's an analogy to the humble identity of the band while explaining their grand vision. I probably like it because it reminds me of the album Motel Capri by the popular Quebecois folk/rock band Les Cowboys Fringants. Anyhow, like the epic cover of their previous record, this more down to earth artistic approach fits the festive, at times summery album.

LoL (best acronym ever?) surprised us (me, at least) with a country EP in late July. I instantly shared it to my father who's a big Merle Haggard and Waylon Jennings fan and he totally liked it. This shows that they're an authentic group of musicians who are as ecclectic as much as the United States is cosmopolitan. I wasn't sure of what to expect with this new full length as Frenzy, Ecstasy was some sort of transition effort (this doesn't mean that it's not a masterpiece, I gave it a 98% three years ago and this score is still adequate) after their first two lps which were generally much heavier or more metallic (listen to “I am the Raptor” from their self titled). Their third album was heavy but in a noise way and the spaghetti western side of the band was deeply explored. I think the western side of the band has been diluted for Motel, there's some sort of surf rock feel that is now more prevalent and while there's some metal moments like “Don't Open till Doomsday”, a track that reminded me of Faith No More's Angel Dust, it doesn't seem like a totally metal album, it's instead all over the place but in a cohesive way. It's a more controlled sort of craziness than your usual Mike Patton project.

The omnipresence of Noah Wolter's keyboards (rhodes, etc.) is giving a sort of The Doors/Deep Purple vibe but played in Area 51 since it's totally bonkers. There's no bass guitars so the rhythm section consists of the proficient and interesting drums of Andy Lutz and the keys. It's almost as strong as the Manzarek/Densmore duo! Their musicianship is impressive in its ability to navigate many styles without breaking a sweat, they're excellent musicians in complete control of their direction.

I like the fact they rerecorded “White Debbie” (found on Attack the Future), it's much shorter and feels like a more joyful and softer version. There's also “The Olm” originally on Hammond's experimental album Canclo and it's the only long track on there with its six minutes length, the track has this sort of drone/doom/ambient part before exploding into their bombastic style. Most songs on Motel are short bursts of creativity (many are around the two minutes mark) but they're so rich with details that the relatively brief duration of the album is inconsequential, I'll only press the repeat button since I doubt I'll get tired of it. While the songs are shorter overall than on Frenzy, Ecstasy, it's perhaps not as instantly memorable, it takes a lot of tie to dissect all the organs but it's truly rewarding.

Leeches of Lore is a persevering band but you need to make some effort in order to decipher all the artefacts they buried underneath their inventive blend of music. They're adventurous not only because they mix genres that are rarely or even never combined together (speed metal + western, anyone?). LoL has once again wrote a masterful album and took the lead for “best album of 2015” as far as I'm concerned.

Bandcamp

Initiated - Seed of Evil (2015) / 80%

Uncle Danzig will be proud.

Can you see the evil in his eyes?!

Sometimes it's fun to go back to the basics and that's exactly what these guys did with this new project. Formed by members of several Finnish metal bands from diverse genres such as Horse Latitudes (droney doom), Caskets Open (trad doom/punk) or Speedtrap (thrash), Initiated is a retro band and it feels like a vacation for these guys. The main worship object on their altar is none other than Danzig and that's certainly a rare thing in the metal world. While I'm not the biggest fan of the man, I do think his self titled debut is a pristine work but this EP is better than anything he did since at least two decades.

Feel the touch of the golden hand! Ugh!

It has this dark, occult feel (just look at the subtle yet dreadful cover art) but it's in possession of a clear, admittedly joyful spirit leading me to believe that the thematic isn't overly “serious” but rather present to represent their tongue-in-cheek nature, dark humor is something quite present in Finland's snowy lands. Probably to give the necessary confidence to withstand their depressive Winters.

It's played big with memorable over the top choruses full of Jim Morrison's shirtless dead demeanour,, Harri Kuokkanen (drums, vox in Horse Latitudes) is a force to reckon with here, his vocals (armed with the distinctive Finnish accent) are powerful and enjoyable. From the chanting in “Summoning” to the memorable sexy tomgabrielwarrior-esque “ughs” often found in their songs, he's just very charismatic and it transpires through the microphone.

Pass me the goblet of your desires, let me fill all your cups, they shall overflow.

The music is a mix of heavy metal, hard rock and doom metal, it's quite melodic and really has this crossover feel between all these different genres. It's just very fun stuff with super cool riffs that are the true opposite of subtlety (that's a good thing!) but they can deliver some atmospheric (and sleazy) moments like on “Goblet” and its great lead guitar work.

They're not reinventing the wheel but that's the main purpose of this project, it was created as an outlet to deliver the traditional goods and that's exactly what they did. Complaining about this fact would be like complaining about how your typical cheeseburger doesn't taste like foie gras. It's thick, full of riffs, it reeks of sex and it's rightfully occult, Initiated possess all the elements necessary to craft a superb piece of hot music.

Bandcamp

The Sword - High Country (2015) / 85%

Ooby Dooby Rock

A popular opinion about the American quartet is that they were opportunists hipsters who jumped onto the stoner doom band wagon and while it's sort of true, it's not fully accurate. The early 2000s were more about sludge (early Mastodon), aggressive stoner (High on Fire), stoned stoner (Bongzilla) and the retro metal approach wasn't still quite big in the US, it was going somewhere in Europe with Witchcraft and the likes though. Even if it's possible that the dudes of The Sword weren't totally honest about their craft (I don't quite believe in that, I'm naive enough to think musicians play the music they like) and weren't doing anything new at the time, they brought doom to the American masses and that's something. Also, <i>Age of Winters</i> was still released before the whole occult rock/doom fad (think of Jex Thoth for the US). Nevertheless, I'm not saying they were instigators or precursors since stoner rock/metal wasn't absent, they never really brought new ideas and bands like Priestess were evolving in the same genre but after more than a decade, the band was in dire need of a change of scenery.

I enjoyed their first three albums but thought that their fourth record <i>Apocryphon</i> was a mediocre effort: it went nowhere and it felt rehashed and lazy. Three years later, they're back with a new album and they feel fresh and renewed. It's nowhere near as heavy as their four other albums but it still rocks super hard. There's still some doom and stoner metal to be found here but they added a huge dose of classic rock and psychedelia to their formula. It's like they took a long big bath while listening to Rush's <i>Fly By Night</i>, some old CCR and Led Zeppelin and a bunch of Queens of the Stone Age records (Satan knows I love Josh Homme). While many songs are far from their old style (check out “Seriously Mysterious” and its lush keyboards or the psychedelic intro), I feel their identity is kept intact, it's clearly the same dudes. They probably discovered the psychedelic darlings of Tame Impala and decided they liked their stuff ( to be fair, well, Kevin Parker is pretty damn awesome) and I think it's wonderful. Add a lot of blues, roots and southern rock tendencies to their psychedelic stoner rock and you're in business for what I'd call my surprise of the year. Nonetheless, I'm sure some “purists” of the band won't like this new direction but to me, it's an extension of their identity and a logical progression.

You'd think the album would be entirely a rock affair if you've read a recent interview J.D. Cronise (vocals, guitars) did. He said the following: <i>“I’ve been listening to a lot of blues and roots music, even country music, a lot of old country music. This record reflects more of our current tastes... I don’t really listen to that much extreme music anymore, or really even that much of what you’d call heavy metal."</i> (<a href= "http://consequenceofsound.net/2015/08/the-sword-breaking-the-archetype-of-heavy-rock/">Read the full interview</a>) It's not though, there's still a lot of stoner metal/rock here, they just added more ingredients to their tex mex taco and it's just tastier. He also mentions that playing super heavy doom would had been “playing a part” and that there's not enough individuality in the metal scene. I certainly agree with what he said and The Sword managed to break off of their own mold, sure it's not as thundering or intense as <i>Gods of the Earth</i> but I'm happy they didn't release an album akin to Death Magnetic (a record clearly written to please the fans who were demanding some true 'Tallica!) and that they were honest with themselves. What's the point of playing a genre of music you're bored with?

The structure of the album may seem jarring as it has 15 songs but I don't think it was problematic at all. There's a good flow between the tracks and there's enough variety to keep us hooked throughout its duration. Some of these are interludes like the superb krautrock influenced “Agartha” or the accoustic charm of “Silver Petals” and they add a cool groove to the record. They still deliver solid heavy songs like the great “Early Snow” and its big band blues section (trumpet, saxophone and trombone!). It's High Country's finest moment and I wish it would had been even more present. Cronise and Kyle Shutt didn't stop writing huge guitar hooks (the AOR/glam riffs of “The Dreamthieves” are excellent). I've seen them and it's a strong guitar duo in the purest rock tradition. They're strong musicians overall and there's a lot of (vintage) feel in the leads and the bass (Bryan Ritchie handles the synths as well) is a subtle yet tight and vivid presence.

Cronise's lyrics aren't quite better this time around but they're still at least entertaining, they were always fun especially on the Sci Fi concept album Warp Riders. There's some sort of rural/agriculture theme going on (the introduction of the album is called “Unicorn Farm”) and it fits the vintage psychedelic approach they took. There's some funny innuendos like “give me your honey, spare me your stings” in the great last track “The Bees of Spring” but he will not win any literature prizes with his prose, he's still quite juvenile. I mean, he's still speaking about witches and like he said in one of the tracks “it's nothing new”, eh, I have no problem with that after all. His vocals were never The Sword's strength and it's still not the case but I do think they're stronger and aren't as buried as before. They're entertaining and highly catchy and possess this interesting pop flair. He's very good on the soft moments of “Ghost Eye” or the western ballad “Turned to Dust”. He's certainly not John Fogerty but he doesn't try to be either and he's a good fit for the sound of his band.

High Country could be seen as a way to get a foot in the door of the recent vintage stoner rock revival (they'll bring both Kadavar and Royal Thunder with them on two different tours this year), if it's the case, it's done with honesty, skills and vision and shows that The Sword can adapt themselves. It's not a lazy effort, it's a real combination of influences in a package that doesn't feel dated or archaic despite the vintage inspirations. Anyhow, the band has always been in possession of a crossover appeal between rock and metal, they just made it clearer with this. Let's boogie with The Sword, my ass is already shaking.

Top 50 of 2000-2009, part 5, 10 to 1!

TOP 50 OF 2000-2009

Part V

Positions 10 to 1

Here it is, the final installment of this top 50 with my 10 favorite albums of the last decade. Thanks for following the series and I'm sure I'll regret not picking this or that album later on but eh, making lists is fun!

10. Solstafir – Kold (2009)

The icelandic quartet reached their creative peak with this album. While their two most recent records are good, I never enjoyed them as much as I liked this one. The cold (pun intended) atmospheres and the inventive blend of post rock with Viking and black metal asthetics is simply grandiose. You're hooked the moment the 8 minutes instrumental opener starts and it's a voyage through this snowy country for an hour. Simply beautiful music.

9. Wuthering Heights – Far From the Madding Crowd (2004)

Oh man, I remember discovering this band and listening to this album (and The Shadow Cabinet as well) non stop for weeks. They're quite unique, blending neoclassical power metal with progressive metal, folk metal and Dio-esque vocal accrobatics. They're just exactly what I want in this sort of music, super epic lyrics about fantasy (mostly Tolkien), soaring vocals, excellent solos and super catchy songwriting. It's a shame they're on hold right now due to their guitarist/composer's health issues and I hope he'll get better and release the successor to the excellent Salt released in 2010.

8. Amon Amarth – With Oden On Our Side (2006)

Amon Amarth is a widely popular band for a good reason, they're fucking excellent. While they don't really reinvent themselves, they managed to really excel at crushing and manly melodic death metal. WOOOS is by far their best for me, it's a widely important album for my metal development and I still like it 10 years or so after its release. It's an album I spin often when I get nostalgic and it never fails to deliver the goods. With Oden on our side, we are indeed victorious. 

7. Cult of Luna – Somewhere Along the Highway (2006)

The Swedish project has released nothing but strong albums so far and it was hard to pick between “Salvation” and this one but I think Somewhere... is a bit more memorable and features better individual songs like “Finland” or “Dim”. I believe CoL is the best band exploring post-metal (whatever that is) territories and yes, this includes Neurosis and Isis. Their blend of atmospheric music with many subtleties is always making me happy. I can't wait to see their first Montréal gig ever in Montréal in early September with Kylesa (featured in part 4 of this top 50).

6. Symphony X – Paradise Lost (2007)

I thought Iconoclast was a disastrous affair, the New Jersey progsters decided to go in a groove and mecanical direction and I wasn't fond of it but damn, its predecessor is one of their best albums alongside Divine Wings of Tragedy. The groove side is present, yes, but it's a companion to their epic and mythological identity and mostly in Allen's voice. I have fond memories of buying the gorgeous digipak and sharing the album with my best friend during the last days of high school and I still go back to this album often, the songwriting is great and the instrumentation is top notch. Essential metal.

5. Opeth – Ghost Reveries (2005)

Opeth is my favorite band, I love all their albums but my favorite ones are their first three. Morningrise being one of my best albums of all time doesn't mean that their more recent work isn't good though, quite the opposite. While I'm not the biggest fan of their alleged breakthroughh album Blackwater Park, Ghost Reveries is a masterpiece and a rival to Still Life for the 4^th place in their discography and my heart. Their first album on Roadrunner is a varied, profound and compelling effort and it's still full of extreme metal moments (Watershed was their true transition album towards prog rock). Songs like “Harlequin Forest”, “Beneath the Mire” or “Isolation Years” are some of the best ones Mikael Akerfeldt ever wrote.

4. Enslaved – Below the Lights (2003)

The Norwegians are in possession of one of metal's best discographies and there's still releasing super great albums nowadays but this one is perhaps my favorite. It's a perfect mix of their Viking/black metal era with their progressive tendencies and has memorable songs like “Havenless” or the live staple “As Fire Swept Clean the Earth”. There's also no weak(er) moments such as on RITTIR or even Mardraum. Prog metal at its best.

Oh and yeah, I own a signed copy of the album (I've seen them 3 times live, managed to get this signed when they they opened for Opeth in 2010). Note that it's the actual lineup and not only the members who did the album.

3. Sigh – Imaginary Sonicscape (2001)A true work of genius blending black metal with psychedelic rock, prog and everything else that Mirai Kawashima and company could think of. I wrote a long review about it in 2013 and I think it would be impossible to describe such genius again.

2. Slough Feg – Traveller (2003)

Slough Feg are one of the most consistent bands of their generation and this is in my opinion their best album. The sci fi concept inspired by an old table top role playing game is fantastic and gives the album a lot of memorable lines like “I feel the x-rays on my brain”. Mike Scalzi's inspired guitar playing and super catchy lines ensured that this album will become a full fledged heavy metal classic in the decades to come, it's definitely one of mine, that's for sure.

AND THE NUMBER ONE IS:

1. Reverend Bizarre – So Long Suckers (2007)

One of my favourite albums of all times, it was a no-brainer for the 1^st place of this top. The massive length and the uncompromising approach made me fall in love with doom metal and it's still a total package experience every time I spin the two disks. Like I said in my 100% review, more is less. Their debut could had been considered as well since it's also a masterpiece but I don't have the same relation with it, it's a bit less personal. I remember ordering “So Long Suckers” from a metal/prog store in Montréal, this was back in 2008 where I had yet to use the internet to order stuff and it feels like a product of another time, a time more naive and full of life.

Magister Templi – Into Duat (2015) / 88%

"Duat" is the realm of the dead in the Egyptian mythology.

Crushing the opposition into dust

Norway isn't widely known for its doom metal, compared to nations like Sweden of Finland, it only has a handful of bands evolving in that style. I'm thinking here of Lamented Souls with its lineup composed of well known musicians (ICX Vortex and Apollyon), the excellent High Priest of Saturn and Sadhak or the underwhelming Sahg and Devil... That's about it as far as traditional doom is concerned... Well, except for Magister Templi! The quintet from Oslo is back with their sophomore release after their well received debut album “Lucifer Leviathan Logos”.

Not as doomy as their debut, “Into Duat” is more rooted in epic heavy metal than anything else. I'd still classify them as heavy/doom as they mix both genres but this is clearly not your typically slow trad doom release (see England's Witchsorrow for a good example of this in 2015). Unlike many doom bands (I'm thinking of the Candlemass lovers of Crypt Sermon here), their influences and inspirations are harder to pinpoint. There's some early Slough Feg (read Thin Lizzy) in their music (especially the track “Horus the Avenger”) and pure 80s heavy metal and that's totally awesome. They're very groovy and keep things relatively short and tidy (eight songs for forty minutes), only the excellent opener “Creation” is a bit on the longer side with its near seven minutes length. While I'd like for them to go overboard with some longer moments like fellow heavy/doomsters Atlantean Kodex, I'm perfectly fine with this stylistic choice and I must say that they're pretty skilled at incorporating such an epic sound to a classic, punchy and concise packaging. It feels like they're putting Maiden's most epic tracks into a 4-5 minutes one.

After the Lovecraftian and occult themes of their previous effort, Magister Templi took the Nile way and crafted a bunch of songs about Egyptian mythology (obvious with the song titles) and it's always a rich and interesting subject to write about. There's plenty of occult stories full of betrayals and magnificent fantasy tales to be found in Egypt's rich lore. The musicality is also influenced by the themes, it's not exactly Melechesh turned doom but the analogy isn't that far off (listen to “Anubis” and its ear-worm of a chorus), that's a style of metal we rarely hear, I still feel like a 10 minutes epic heavy/doom track about Ra or whatever would had been great but that's just me!

Osiris, god of the afterlife!

The two guitars approach was the way to go, there's many subtleties so the double axes way was required. There's not a lot of super technical guitar solos not that they were needed, there's some like the start of “Slaying Apophis” but it's kept minimal, it's just great riffs after great riffs most of the time. The bass is also strong, especially in the “Rime of the Ancient Mariner”esque break in the closing track “Destruction” (the album starts with “Creation” and ends with “Destruction”, it's fitting). Their vocals are thundering and freaking manly, quite powerful and particular, they add to the epic vibe the band is cultivating. Abraxas d'Ruckus has this classic, deep approach reminiscing of Danzig and I hope he sings without a shirt on! The band puts a lot of emphasis on the collaboration between the catchy vocal lines and the instrumentation, in the end, they really do fit well together.

Magister Templi is a top tier traditional metal and they're exactly how “true” metal should sound in 2015. It's not too cheesy nor rehashed and it has this classy distinguished feel (not as refined as Borrowed Time though but these guys were hard to beat). Ornamented by a beautiful and evocative artwork, you just can't ignore the mighty power of these guys. It's a required spin for trad metal fans.

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