FOR THE LOVE OF METAL
It’s tragic how such a welcome comeback could be snuffed out so cruelly, but what a way for Heaven and Hell to go out: sales and attendance exceptional, everyone finally getting along, not to mention proud of everything they’d accomplished in such a short time span. And with Neon Nights: 30 Years of Heaven & Hell, we have a perfect way to cap off that magical run.
“This is not the girls music. This is unkind. There are no engines allowed. It’s the rock music”
“With Watain, there is no division between style and substance. Far from invoking the more alienating or shoe-gazing aspects of black metal, they invited the audience into their circle with their high-energy antics. They are, at their core, rock and roll at its extreme margins — noisy, nasty, problematic, maybe even unpredictable.”
Jonathan Smith reviews the December 4th Toronto performance by WATAIN, GOATWHORE and BLACK ANVIL at the Opera House.
“With the recent UK deluxe reissues of the mid-eighties Black Sabbath albums Seventh Star and The Eternal Idol creating quite a buzz about those releases once again I thought it might be time to revisit my favourite under-heralded Sabs relic. Born Again, the band’s 1983 release and only one to feature noted vocalist Ian Gillan, is one of the most dividing releases ever to bore the Black Sabbath moniker. it is one of those records that you either love or loathe. There is no middle ground needed, and none provided.”
Album review by Sean Palmerston
If you feel the need to purchase every recording with G.G. Allin’s name on it, you’ve probably already pre-ordered this. From the casual fan’s perspective, it’s nothing too special.
Vancouver’s Anion have dropped a punishing slab of hardcore in the way of their Carrion King seven-inch. Four songs striking a balance between stabby hardcore and slow-drain sludge, Carrion King is the perfect primer to the band and their vitriolic brand of sludgecore.
Take the buzzsaw riffage of more recent Darkthrone and the piss ‘n malt liquor of Eyehategod, with some decidedly pissed off black metal vocals, and change tempos frequently. You’ve got yourself a solid eight-song, 35 minute debut.
“The setlist was great: Perfectly selected songs from his solo stuff, like “Let Me Hear You Scream,” “Crazy Train,” “Bark at the Moon,” and “Mr. Crowley” and some Black Sabbath tunes like “Faries Wear Boots” and of course, “War Pigs.” I haven’t followed his solo career too much since I was about 11 or 12 when one of my older brothers (who is now a classical musician) brought home his first solo album, so this was a great set list for those who were enamored with the legend more than his musical catalogue.”
Laina Dawes reviews the November 27th show by OZZY and HALFORD at Toronto’s Air Canada Centre. She took all the cool pics too.
Hellbound reviews seven 7”s recently released by Baltimore-based A389 Records.
The Filth shows enough promise that I’m curious to see what haarp come up with for their next record.