The first edition of the HMH zine has been printed and is hitting the Vancouver streets this week! Look for it at places like SBC restaurant, Astoria Pub, Funky’s, Scrape Records, Vinyl Records, Antisocial Skateboard Shop and lots more places. Once I figure how to work the interwebs I will post the articles online! Oh interwebs 😉
Some of my favourite shows so far:
Three full hours of CANADIAN METAL from 2014:
I spin my favourite albums of 2014:
An all DOOM/SLUDGE SPECIAL in anticipation for Sleep (I spin the whole Dopesmoker album) playing Vancouver:
I am joined by Cam Pipes from 3 Inches of Blood for a special 2 hour takeover:
Silliness ensues: I am joined by Erik, Coleman and Steve and we get drunk and sing along to random 90’s songs all while playing crushing metal:
I am joined by Chris, my partner in crime, as he spins some of his favourite new bands:
Fam-Jam special: I am joined by my mom, Debbie, and my sister, Katie and we play some of their favourite traditional blues/rock and roll as a family tribute to the roots of heavy metal:
The Venue – July 13, 2014
Wolves in the Throne Room (WITTR), a Washington black metal duo, released Celestite, an experimental synthesizer album on July 8th and followed with a North American tour. Nommo Ogo, a California psychedelic electronic band and Vancouver’s own Neck of the Woods (NOTW) were also on the bill.
NOTW is a band that showcases many different styles of metal and it is obvious why the were Wacken Metal Battle Canada finalists. Progressive bass rhythms accompanied the double kick and wailing guitar while Jeff Radomsky, a hardcore vocalist, spent most of his time pacing around the audience screaming. “Two Smokes” ended the five-song set and was set ablaze by two guitars and slowly grooved into a fast melodic double kick crusher.
Nommo Ogo walked on stage hidden behind beekeeping hats and their electronic equipment. They created an ambient experience full of crashing high pitch noises among low deep rhythms. Their most recent album, The Sea of Night is aptly named as this music seems to be best suited for staring off into the abyss.
WITTR did not play any songs off their newest album and instead stuck to their black metal. Distortion rang out and it was loud as they played their first song, “Thuja Magus Imperium.” The only light came from lit candles as the stage was dark. The band did not say a word to the audience for the almost hour-and-half set, except for the screeching growls of the singer. Heads were drooped for the popular “Vastness and Sorrow” and Venue filled with atmospheric black metal that Wolves in the Throne Room innately create.
By Serena Navarro
The Venue – October 8th 2014
Vancouverites seem to have a fond liking for Portland and lately everything that has been popping out of its crispy, sweet, music filled city. Red Fang is no exception and people flocked to see them perform at The Venue on a Wednesday night.
We Hunt Buffalo started off the evening right with some awesome rocking tunes. This Vancouver based stoner rock threesome cover their riffs with enough fuzz to make your ears turn into peaches. No complaining here.
Black Mastiff might be a breed of a dog but it’s also a name of an awesome soulful rock band from Edmonton. Ruled by the bass and drums, Black Mastiff created groovy 70’s inspired songs soaked in gritty guitar and it had me swooning, literally.
Red Fang was up on stage in a matter of minutes after Black Mastiff finished their set and Red Fang set up their gear. No rock star status here. They continued on in their humble tradition of shaking hands with each other before getting into it. The comradery of this band seeps into the community of fans they attain. A down to earth band playing good old heavy metal infused the crowd on Wednesday and had people shouting out the lyrics to “No Hope”. “Doen” was played and people got the heavy sound they so desperately wanted and moshing ensued. Several folks found their way to the stage to crowd dive and subsequently someone hit the lead vocalist, Aaron Beam, in the mouth but it didn’t faze him and he kept singing. Crusty and catchy, David Sullivan started the “Wires” opening riff and the excitement of the crowd started to build. Aaron’s beautiful singing lead to the crescendo of the evening and consequently to my ears ringing.
By Serena Navarro
Thanks to The Skinny Magazine for publishing this live review.
I walked into the Biltmore Cabaret for the first time to find a red, deep glow about the venue. I have only really known small venues in Calgary and it was a comforting and hazy place to host Anciients’ kick off Canadian tour.
Destroy All were the first band up and started on time. This 4-piece was not any ordinary metal band, showcasing 3 different vocalists all with their own unique sound. The main vocalist/bassist, Aron, was seemingly a fan of Venom as he was screeching out some killer vocals with their first song Leviathan Rise. Deep and high vocals from the other two guitarists fit well with this all-encompassing range of metal styles. Emerge Now From the Ashes was their second song and was laid down with some progressive drum beats. The end of the set was a crushing song named Long Live the New Flesh and was fun to thrash out to. Destroy All played a short but sweet 25 minute set.
Skull Vultures were second on stage and were hard hitting and beautifully constructed. With sounds that emanated Neurosis and Gorguts, Skull Vultures are an up-and-coming band. Eli’s guitar wailing rang out clear with the first song,Reclaim. The drummer was a fill-in for the show, but proved he was worthy of being there by playing a drum solo for about a minute and a half which ended with the crowd cheering. Only Darkness started with a slow bass line of doom proportions and proceeds into Jason’s guttural war cry and speed which were a welcoming sound amongst the progressive drum beats and the beautifully high-pitched ringing of the guitar. Skull Vultures finished off their set with a song titled No Reason and it was over too quickly, in my opinion. They only played around 25 minutes, but I wish it was longer.
Black Wizard came up on stage and all the hair came too. You could tell it was going to be a stoner-iffic time. This band was LOUD, and I mean feedback loud. I had to leave the pit because, even with my earplugs, my ears were getting fucked by this Clutch-inspired dual-guitar 70’s band. Hair was swinging everywhere! The drummer, Eugene, was exciting to watch, with his ever moving body and head banging. The crowd really got going when Eliminator was played: their only song on their Bandcamp website. Vocalist Adam gave some crushing growls amongst his pure clean vocals and it worked quite well. About 3 songs into the set, Adam had some troubles with his guitar but the band kept playing until he fixed it. The following song began with a dual guitar riff of epic proportions and proceeded into a lovely slow and sludge orientated song. Black Wizard was overall a really good band, but the sound/venue was not working in their favour.
Black curtains were draped around the front of the stage in anticipation of Anciients playing. An ambient sound started coming from the monitors and around 120 people began making their way to the front of the venue. The curtains were drawn back and southern metal riffs rang out with their first song, Raise the Sun. The second song, Overthrone, started fast, but ended slow and people were starting to groove. After the second song it seemed the crowd was in a weed coma as Kenny, the lead guitarist and vocalist, had to spur the crowd asking “How you guys doing?” with the crowd cheering again. The intro to the next song, Faith and Oath, picked up speed and the crowd followed by head banging. The Longest River took us on a 9 minute progressive, stoner-metal journey and no one in the crowd was complaining as bodies were swaying. Anciients ended the show with a new song that began harder and faster than the previous ones, but progressed into a beautiful slow head drooping sludge that covered the crowd. Anciients played just shy of an hour and the band was really thankful everyone came out and supported them on a Tuesday night. Anciients, Black Cobra and Black Wizard are touring Canada right now. Check out Anciients.ca to find out when they will be in your city!
Words and photography by: Serena Navarro
Edited by : Bailey Macabre (Vancouver Metal)
VANCOUVER — Cannibal Corpse performed on a Wednesday night at the Commodore Ballroom and brought Behemoth as their co-headliner.
But first, Sweden’s Tribulation started the night off right with a mixture of old and new metal. It was kind of like a rock and roll/death metal/progressive mix and I dug it. The band played songs from their most recent album, The Formulas of Death.
Aeon, also from Sweden, was the second band up onstage, and they gave their dose of death metal to the crowd but not before a lengthy sound check. Aeon’s vocalist, Tommy Dahlstrom, jerked his mic off throughout the set between his depthless growls.
There are many bands that one wants to see throughout their lifetime and for me, Behemoth was one of them. Excitement grew within the crowd as the stage was outfitted with occult stage props. Vocalist Adam “Nergal” Darski graced the stage with two torches on fire and the band performed “Blow Your Trumpets Gabriel”. Halfway through Behemoth’s set a surprise guest helped Zbigniew “Inferno” Prominski on the drums, and the two of them were getting their groove on. The Commodore Ballroom stunk of testosterone, body odour, weed and beer and then Behemoth played their popular “Ov Fire and Void” and the place went a little hazy. It was lovely.
Finally, Cannibal Corpse brought their standard dose of aggressive growls and death metal. Maybe it’s because I’m getting older, or maybe it’s because I got thrown on my ass in the pit, or maybe it’s because my taste in metal has evolved but I wasn’t digging Cannibal this time around. They played their popular songs to the crowd’s delight and I sat back and watched the young folk have their time in the pit.
By Serena Navarro
Thanks to Beatroute for the opportunity to review this show.
VANCOUVER — Mayhem, the infamous Norwegian black metal band, was formed in Oslo in 1984 by guitarist Oystein Aarseth (“Euronymous”), bassist Jorn Stubberud (“Necrobutcher”), and drummer Kjetil Manheim. Suicides, homicides, and the burning of churches – yes it’s all related quite heavily to Mayhem and will forever be. Although littered with controversy over the years about band members being neo-Nazis, misanthropic and anti-Christian, Mayhem has continued making music, which has been characterized by the band’s revolving door of musicians. The possibility of the music standing for itself was always a question the metal community took to heart. Many a conversation and heated arguments have been had over the years. Regardless, Mayhem has continued on, with the current line up consisting of Necrobutcher, drummer Hellhammer, vocalist Attila Csihar, and guitarists Ghul and Teloch.
Esoteric Warfare, Mayhem’s fifth studio album, was released, with hesitated excitement, in June of 2014 – almost seven years after their last album, Ordo Ad Chao. Teloch, the current rhythm guitarist of almost four years, made some time to answer questions via email.
Teloch explains that the lyrical theme of Esoteric Warfare is about “mind control, secret nazi societies, cold war and flying saucers… Attila (the vocalist and song writer) is really into stuff like this, where as I am not a believer of all these conspiracy theories.”
Attila Csihar, vocalist of Mayhem for over ten years (replacing previous vocalist “Dead” after he committed suicide) and vocalist for the infamous album De Mysteriis Dom Sathanas, has recorded some of the most eerie and ghoulish ululations produced by a living entity for their new record. Seriously, it’s beautifully horid.
“We are into the more fucked up things in life…instead of flowers and machines for the kitchen,” Teloch explains about creating Esoteric Warfare. “It started with me making a vocal guide for Attila and we built the lyrics and vocal performances around that. He is a dream to work with and is always open to try new things.”
When asked about the musical aspect of the album Teloch confesses that it’s mostly straightforward Mayhem material for the first four songs “but the rest of the album is more experimental… I tried introducing some new elements.” For example the song “Milab” was written “as a very soft song, but it still has that creepy Frankenstein feeling to it that I like,” Teloch explains.
The inspiration for such demonic sounds from the album comes from a Canadian source. “Actually I was trying to make a Voivod-inspired song, but more evil,” Teloch confesses. “I get inspired by everything… a noise from a car parked outside my window… simple things like weird sounds that surround me in my daily life.”
Teloch responded to some controversial questions about Mayhem’s past and the contributions of Dead and Euronymous by simply stating, “This is Mayhem, so the intensity is quite rough sometimes when discussing things. I didn’t know the Euro or Dead, so I don’t speak about them. I hear some of the guys that knew them talk sometimes about them yes, of course. They were a big part of this band’s history… but then again I’m more interested in the future then the past.”
Mayhem just might be around for another 30 years if Teloch has his way, “but it’s not getting easier with this kind of extreme metal. Maybe its time to slow down a little bit for the next couple albums so that we can have some slow songs to play when we hit 70 or 80 years old,” jokes Teloch.
So, perhaps we can expect some slower songs from the next Mayhem album, but for now it’s all about the crude, obscured and maniacal metal.
By Serena Navarro
Mayhem perform at the Rickshaw Theatre January 26.
Thanks to Beatroute for publishing this article.