FOR THE LOVE OF METAL
In Sam Dunn’s debut documentary, Metal: A Headbanger’s Journey, the anthropologist describes his hometown of Victoria, British Columbia as the land of the “newly wed and nearly dead”, an anecdote that resonates with the city’s primitive black metal practitioners Shibboleth.
As a long awaited reissue, the new 2011 version of this album is about as good as it gets.
Sepultura as they exist today have incredible muscle and power, at the expense of some of their subtlety. Their music now has less of an eerie quality, gets under the skin less. Instead, it wants to tear you apart. The experience of seeing them live was thrilling and exhausting, but left a ghost behind, alittle bit of longing for the sound of a jungle breathing on the back of your neck.
Natalie Zed discusses the recent visit to Toronto from legendary Brazilians Sepultura. Accompanied by photos from Adam Wills.
These guys are the real deal and with a bit more emphasis on some stronger songwriting and maybe a shorter length – 70mins seems to be a tad too long for this kind of music – really big things could lie ahead.
The Great Mass doesn’t stay with me long after the final track, “Therianthropy,” dies away, but in the moment each song offers to be deliciously, mind-numbingly immersive, and I’m quite willing to let myself drown in the experience.
Song after maleficent song, Hisingen Blues is an infectious monster of retro-styled, devil-take-my-soul blues fury that has left me wondering why I never sought these guys out before, and wondering how long before everyone else finally picks up on them. If they were obscure before, they’re not going to be much longer.
While this is an interesting effort that serves as mellow mood music for a nice relaxing vibe, I feel like I’ve heard a lot of this not so long ago on Angels of Darkness, Demons of Light 1.
Echtra are among those bands that do not invite the exuberance or intensity of much extreme music, instead appealing to listeners’ more contemplative sensibilities. Paragate, of all the band’s output, is the most cohesive and single-minded work they’ve yet released.
I actually quite liked their debut, but this one isn’t grabbing me in the same way. Songs seem shorter, and they’ve definitely dialled down the heavy, opting for a slightly less distorted desert rock/grunge sound.
Even Dehumanizer was gloomier than this. That being said, if Balls to the Wall/Metal Heart era-Accept or those mid-80’s Scorpions albums are your thing, you might not mind this modern slice of throwback Euro metal.