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. 

Bandcamp

Hornet Murmuration – Affirmation of Antipathy (2020) / 80%

Bzzzzzzzzzzzzzzzzz

The third solo project created by Tennessee native D.L, the young musician behind Glass Shrine and Kostnatění, Hornet Murmuration is his rawest and most unhinged one yet.

Self-recorded in three days, this demo incorporates a fair dose of punk in an already dangerous blend of black metal formulas, ranging from the obscure American Rhinocervs scene to the Slavic and French sounds. It’s chaotic but the production is quite clean for this genre, the riffs are vivid and easily audible and the fairly simple yet effective drumming gives a nice rhythm to the whole thing. The vocals are raspy and under a wall of noise under attack by a bunch of hornets. It does sound like hornets playing metal though, it's highly aggressive and it stings you but it's also organized in all its chaos.

Compared to black/punk stalwarts Raspberry Bulbs, who coincidentally just released their first album during the Trump administration on Relapse Records, no less, Hornet Murmuration are rooted strongly in modern, quasi un-unorthodoxed black metal. The Bulbs’ whole thing is to play punk with a raw black metal approach, it’s not the case of this new project. It’s not rooted in the olde eras of metal like most other metal/punk bands like Devil Master or Shitfucker like to explore, I’d say it foregoes influences and tries to be timeless. It often succeeds at it or maybe I just don’t know black metal enough to pinpoint the references...

It’s punkish in the way the riffs are written and the type of aggressiveness unravelled through the five short tracks of that demo release. While it’s uncomplicated metal, there’s still this underlying intellectualism laying around, mostly through the titles and the aesthetics of the project. It can also be found in the abrasive yet thoughtful songwriting which normally shouldn’t be as complex as it is. Affirmation of Antipathy is a strong debut demo that shows promises. It has this crisp, unrestrained take on black metal that’s oddly catchy.

Bandcamp

Herzel – Unis Dans La Gloire (2015) / 90%

Heavy Métal Français II

UNITED FOR METAL!!!!!!!

Now signed to Gates of Hell Records (Traveler, Chevalier, Iron Griffin...), Herzel from France is still hiding in the metal underground. This demo is still the only thing they’ve released so far. Good news though, a full length album is planned for 2020! I was lucky to discover Herzel recently then since I will not have to wait too long to listen to more stuff from them. Hopefully, the several years between the releases will lead to a super strong debut since well, this demo will be hard to beat for damn sure.

The two songs demo from the quintet is a fresh take on epic metal and it has immense balls. Unequivocally French (Breton to be totally exact) in both the musical and lyrical aspects, Unis Dans La Gloire takes Manowar, Omen, Virgin Steele or Manilla Road and throws them in an oven near several baguettes.

After a short but sweet atmospheric intro, we’re served two excellent tracks with melodic twin guitars, superb clean vocals with singalong choruses. The vocals of Thomas Guillesser are strangely engrossing and I’ve been singing the lyrics of the title track for like two days since I have nothing really productive to do while waiting for society to vanquish its contagious foe. I feel sorry for my cat now.

Je suis d'un pays où une magie opère
Pas un guerrier ne sera laissé à terre
Jamais l'épée ne me fera trembler
Jamais je ne serai découragé

I’m from a country where magic works
No warriors will be left dying
My sword will never make me tremble
I’ll never be disheartened

For a demo, it’s super well produced. The guitars are tight, the vocals are front-row and the drums dynamic albeit a bit too robotic at times. The Maidenesque leads of Lardeux and Le Vern are skilled, intertwined and engrossing. Anyhow, I’ve always been a fan of honest, DIY epic heavy metal (see Ageless Wisdom, Stone Dagger or even Quicksand Dream) and Herzel is no exception.

They’re not yet at the level of quality of Sortilège for mystical French heavy metal but they’re quite promising. I’m just pissed there’s only two songs to be honest, I’d take a double album of their Brittany inspired epic heavy metal right the hell now.

Bandcamp

Meutrières – Meurtrières (2020) / 88%

Heavy Métal Français I

Arrow Through the Heart

If all the French heavy metal bands could be about castles, fortresses and other medieval themes, I’d die a happy man. Meurtrières (that’s the name given to narrow arrow slits on castles) are a new band from Lyon and they rock hard!

The quintet is heavily by the punkier side of NWOBHM (see Di’anno’s Iron Maiden), it’s fast, heavy and aggressive with strong duel guitars. There’s more than just that though, Meurtrières are multifaceted and often are on the same songs like the epic opener “A La Spatha”. In fact, the album starts with its two longest songs (both around six minutes) to prove that they don’t mess around. The second track “Alienor” explores the feminist tale of Aliénor d’Aquitaine and does it with style and panache.

Musically, I feel that the band is very strong. The bass is thick and present more than in your usual heavy metal band (perhaps due to their punk influence) and the drumming is quick like a crossbow machine gun. As it’s the case for most metal bands, the quality of the riffs will define the quality of a release and oh boy, Meurtrières are freaking maniacs. The songwriting is both nuanced and overly to the point.

The vocals of frontwoman Fleur are on fucking point. She sometimes sounds like Annick of Cauchemar but with more power, range and with a definitive punk attitude. I wish the vocals were a bit stronger in the mix though but that’s their debut album so a weaker production can be judged to be acceptable. She sings the historical French lyrics with an urgency I haven’t heard in a while. She keeps the same energy on the slower and rockier closer “La Déferlante”. That castle on the artwork seems hard to reach but I’m sure she’ll manage to find a way!

That first self released extended play kills, as intended. At almost thirty minutes, it’s pretty much a full length already and with some slight improvements here and there, mostly in the production department, they have the potential to be France’s top heavy metal band. I didn’t avoid the arrows fired at me and I’m glad I didn’t. Essential 2020 heavy metal, mes amis.

Buy/Support

Québec Dank Kush Special with Lochness and Marécages

There’s some sort of doom/stoner movement going on in Québec right now with a small scene resurging from the dank abyss to create weed fueled riffs. The doom/stoner vibe from the province was mostly due to Max Tremblay from The Death Wheelers, Strange Broue and Marécages. Tremblay also runs Brouemaster Visual Decay and provides art for many bands, even international ones like Haunt or Idle Hands. He, of course, did the art for both Lochness and Marécages. I like his art, always colourful but also always pretty grim and dark, it’s full of contrasts!

Lochness – Black Smokers (2019)

First Puff - 83%

Lochness, now, eh! The Montréal trio plays slow, thundering doom/stoner with a definite aquatic feel. Composed of Alban Bachand and Mathias two tattoo artists from the Ligne Verte shop (awesome spot!) and Tony Ross from  Aiauasca (also into tattoos!), the power trio really surprised me with the quality of this release. Compared to most doom/stoner, it’s not overlong and it has a distinctive and interesting identity other than the commonly used “blaze it 420” one. Lochness are all about the pressuriezed heaviness of the deep sea and how foreign and alien that mysterious part of the world is. The album starts with a long seven minutes instrumental track that really shows the colours of what the band is all about. They’re not heavily focused on vocals usually (Ross handles both the drums and the vox) and they also dig the use of samples. When there’s vocals, they’re unhinged and they feel like they’re underwater (check out “Alien Deep”), it’s oddly fitting.

The guitars of Fortier are loud and strong and like American traditional tattooing, it’s bold and there to stay as Black Sabbath foretold. Their songwriting is quite loose and natural, their songs are long but busy with riffs. It’s never boring or overly slow and “atmospheric”. They do like repetitiveness though but they’re good enough to achieve a form of riff hypnosis.

All in all, Lochness delivers a compact thirty-five minutes opus full of huge tones. I’m usually bored by most stoner/doom but they had enough originality to distinguish themselves from the pack. I’ll go swim in the Lochness, I hope I’ll see you there.

Lochness on Bandcamp

Marécages - Marais Juana - Une Ode Cannabique (2019)

Second Puff - 4x20=80%

Speaking of Marécages (swamps), their debut EP is literally a brick made of frozen weed. Max Tremblay (The Death Wheelers, Strange Broue) is joined by Seb Dallaire and Christian Labrecque (AKA Crock 0))) haha) both known from grind bands like Fistfuck and Mesrine and together, they had a lot of fun on this release. The artwork is striking and amusing, it’s just a really big frog that would eat if you were small enough. Frogs and toads eat everything, they’re like me at an all you can eat sushi restaurant.

Their song titles are full of portmanteaus like “Cannabysse” and their lyrics are all in French (always happy to see that), it’s massively fun. The opening song “Marais Juana” is also exactly 4:20, hopefully on purpose. Their metal is aggressive, not too dissimilar to the Hochelaga approach of Dopethrone in a way. It’s dirty sludge/stoner/doom with a really thicc groovy bass, riffs made of rusty steel and bludgeoning drumming played by a madman who hasn’t slept in weeks. Their vocals are, of course, harsh as hell and sounds like a resin infested worm in the best way possible. The use of samples about weed and horror movies is also on point, I personally liked the one about krokodil a lot!

The EP is tight and goes hard. It sounds like a big toad rumbling in a swamp looking for some tasty worms and flies. It doesn’t sound like they’re on weed... Well maybe marijuana laced with cocaine, acid and PCP...

Marécages on Bandcamp

Fer de Lance – Colossus (2020) / 85%

Adamantine Axes & Potent Incantations

Formed by strong members of the traditional metal scene, Fer de Lance will knock you from your seat with their epic blend of influences. The trio is composed of Collin Wolf from Smoulder and Olórin, MP of speedsters Moros Nyx and Patrick Gloeckle (Moros Nyx, Satan’s Hallow, High Spirits...), a strong group of adventurers indeed. That debut extended play showcased a band ready to fight for the most lucrative and dangerous contracts available at the local tavern!

The acoustic guitar introduction of “City in the Sea” follows by an instant epic vocal moment proves that this band doesn’t mess around. We get four sings all between four and six minutes. No time to waste here, it’s compact and mighty. An approach I’d say is similar to Italy’s classic Doomsword (where are they by the way!? Their last album is from 2011) with their ballsy and uncompromising attitude towards epic heavy/doom metal. Fer de Lance investigates many eras of epic metal such as the northern shores of Quorthon’s Sweden, the shiny rainbow of Ronnie James Dio without forgetting to explore the deeper cuts like Scald, Solstice, Old Season or Mael Mórdha.

MP is a very strong vocalist with an impressive range and he’s showing his chops here with influences ranging from Dio, Dickinson or Russell Allen. He wrote songs to showcase his abilities and did it very well. There’s impressive choirs throughout the album too and it gives a sense of epic airiness that’s both pleasing and necessary to push the band to the next level. If you don’t lift your fist and sing along, you might listening to the wrong style of music for you.

The highlight for me, besides the vocals, is definitely the interplay between the acoustic (MP) and electric guitars (MP and Wolf). I think I haven’t enjoyed that combination that much since Primordial’s existence. The title track is a good example of such interactions. It adds this Celtic folk touch to their sound and it’s just gorgeous and interesting without ever becoming sugary or the sole focus of their musicality. It’s masterfully produced and recorded too, those guys know what they’re doing and got a veteran in Collin Jordan to master the EP. It just sounds massive.

Fer de Lance is perhaps the strongest epic doom debut EP since... I don’t know? Maybe Capilla Ardiente’s Solve et Coagula or Atlantean Kodex’s stuff before The Golden Bough. Now give me a full length please! Another great signature from Cruz Del Sur, that's for damn sure.

Buy on Bandcamp

Malokarpatan - Krupinské ohne (2020) / 95%

The Peter Statsny of spooky Slavic true metal

Malokarpatan established itself as a force to be reckoned in the true metal underground with Nordkarpatenland released back in 2017 and I was expecting great things with their followup. Due to their departure of their lead singer, someone else from their own lineup filled the spot so no cohesion problem there. I had the chance to see them live when they played the Covenant Festival in Montréal and it just confirmed that there’s something special going on with the Slovakian band. I’ve been listening to this album for months now and it will be hard to beat as far as 2020 releases are concerned. There’s nothing I didn’t like here.

They’re playing what could be hastily described as black/heavy metal but all in all, they’re fairly unique in both spirit and execution. That mix of elements created one of my favorite combination of styles since Demontage’s The Principal Extinction full length. In theory, it might be easy to combine both the atmospheric grasp of black metal and the power of heavy metal riffs and leads but it’s not that simple. There’s the same uncompromising approach to songwriting in Krolok, their “pure” black metal twin brother. Both don’t have to choose being atmosphere and fun, catchy riffing. Anyhow, “Flying Above Ancient Ruins” is also worth your time and has the best artwork for black metal of the decade done by the same artist as Krupinksé Ohne.

They also made things harder for themselves by writing longer songs than before and packing them to the brim. That album has half the songs for the same duration but the mastering and the editing made the record an exploratory and massive masterpiece. We often talk about the third album of a band is important and it’s the case here. I feel it establishes their sound better than ever.

To diversify their classic Czechoslovakian sound recalling Master’s Hammer or Root, Malokarpatan includes a fair share of prog rock recalling Yes or Rush, some folky Slavic overtones and classical music (such as the intro of the album) and it’s wonderful. At times, it feels like listening to a grown up version of Opeth. The leads and riffs flow well, the keyboards are conveniently arranged and placed within the songs. The vocals are cavernous, mysterious and evokes the ugly beauty of Slovakian haunted forests. There’s some clean vocals here and there but the heavy metal aspect of the band is built within the instrumental aspect of their identity.

Unlike most bands trying their hands at long songs or at mixing metal genres together, their transitions between the slow and the fast, the heavy and the light are done effortlessly. The fourth song “Filipojakubská noc na Štangarígel” starts with a contemplative introduction before transitioning into a At the Heart of Winter-esque attack on your senses. Like their spooky artwork showcasing some sort of devilish confused warlock, Malokarpatan is an eccentric entity full meticulous homages to what makes metal so peculiar and great. The album is a resounding success and essential album to start the decade with.

Buy the album on Bandcamp