FOR THE LOVE OF METAL
A beautiful full-colour, hardcover affair, this perfect-bound 270-plus page coffee table piece is as extravagant and captivating as it is compelling, informative and exciting. From essays by the authors/cameramen to reflective contributions from genre mainstays including Robb Flynn, Alex Skolnick and Gary Holt, there’s an inescapable air of enthusiasm, adoration and importance to Murder In The Front Row.
Despite the rough-hewn quality of the demo’s performances and recording, it reveals that the essence of Voivod was present at the outset. While in 1984 it seemed unlikely that these four rivet-heads from Jonquiere would become prog-metal pioneers, it was obvious from the abrasive, alien nature of Voivod’s early material that this band was truly a breed apart.
The first Wino unplugged record was a neat little novelty, but even with a guest star on this one, I’d say it’s still one too many. Frankly, I can’t even see this tiding me over till the new Saint Vitus record comes out.
I dunno man, all the pieces are there, but I’m not really feeling it. These guys don’t bring anything new to the table, that’s for sure…
Invisible Empire definitely has less Monster Magnet feel to it though and that’s not a bad thing at all, giving Bob and Jim a little distance from their ‘other’ band lets Riotgod stretch a little more as well.
If you dig Torche, Mastodon, Baroness, Kylesa and the like, then you will dig this to a degree I’m sure.
“I’ve no axe to grind with (Young). In fact, there are so many great memories about that time in my life, I prefer to focus on them. I mean, don’t get me wrong: Angus is an intense little fellow. But you have to realize that we all had issues, not just him. I played my own part in whatever my legacy is with AC/DC.”
Keith Carman interviews former AC/DC bassist Mark Evans about his new book chronicling his times in the legendary band, entitled Dirty Deeds.
Album number two from The 11th Hour is darker and more bombastic than their debut. Throughout the album the two interweaving vocal styles add a lot of contrast, meaning the epic-length tracks never fall flat. Lacrima Mortis’ collection of harrowing tales is cloaked in a godforsaken veneer, and it’s a credit to Warby’s talents and songwriting ability that he manages to preserve that requiem-like atmosphere throughout.
On Wednesday, February 8th Sean Palmerston interviewed Megadeth lead guitarist Chris Broderick at Hamilton’s Copps Coliseum.The band was in The Hammer making their first ever performance there as part of this year’s Gigantour. Here is their chat in its entirety.
Natalie Zed reviews the January 28th Toronto performance by Machine Head, Suicide Silence and Darkest Hour at the Sound Academy