It was a night of firsts and lasts – the first Hamilton appearance of Ontario’s independent Woods of Ypres, and the last show for local legends Elevator 22.
A couple weeks ago, the world’s most accomplished stoner, multiple gold medallist Michael Phelps, returned to the pool after serving out his suspension for inhaling what, considering his lung capacity, must have been enough weed smoke to lay out the state of Utah.
Thanks for joining us for the launch of Hellbound.ca, Canada’s newest metal webzine. Updated weekdays with 2 – 3 new album reviews, concert reviews and photos as well as in-depth interviews with bands that span the realm of underground metal, Hellbound hopes to fill part of the void left with the unfortunate recent closings of Unrestrained!, Metal Edge and Metal Maniacs.
Known for their decidedly old school style death metal releases – we’re talking in the vein of Impetigo, (the Canadian) Slaughter and Repulsion here folks – it makes total sense that this album could have only come out on Razorback Records.
Perhaps a surprise to no one who has been following the band over the past few years, Lacuna Coil’s Shallow Life is an interesting step for the band but showcases a bland end result that dilutes the possibilities of the stylistic shift.
Having grown up on metal in Canada during the 1980s, the first thought that springs to mind upon hearing the debut album by Toronto trio Cauldron is, why in the hell couldn’t these guys have been around 24, 25 years ago?
Fifty-one song compilation.
Fifty-seven minutes of intensity.
You absolutely need this one.
After the success of their 2005 film Metal: A Headbanger’s Journey Canadians Scott McFadyen and Sam Dunn have made a follow up with a twist. Where Headbanger’s was a swift romp through extreme music’s history, Global Metal is an anthropological study of metal around the world.
With 2008 proving to be a stellar year for great releases from veteran bands, no one album stands out so clearly from the pack as this, the newest offering by Sweden’s Opeth.
No fanfare. Zero theatrics. A barren stage except for the musicians, their instruments, amplification and a simple backdrop sporting their logo is all that Sweden’s Opeth (pictured) needed to entertain the nearly 900-strong crowd.