FOR THE LOVE OF METAL
The band sound like a mix of Burnt By the Sun and, in a way, Blessings the Hogs (but not as unfocused as BTH). Contained within the riffs are elements of thrash and hardcore but it’s a great blend, like nabob coffee or that guy on the donkey coffee. If you like modern metal with adrenaline fueled rage and with a little of intelligence thrown in, feel free to pour a cup
Jucifer live is Total Ritual: Thick smoke and hot underlight, howling fury and gnashing of teeth, sonic overkill pouring forth from Amber Valentine’s monolithic wall of cabinets. From the second she steps onto the pitch-dark stage to begin her rite of setup to the moment the cloak is removed and the Flying V is strapped on and she begins beating hell out of it like it’s some faltering beast of burden, ritual is the only way to properly sum up the band’s live oeuvre.
Kyle Harcott reviews an appearance in Vancouver, BC of touring machine, JUCIFER.
In summation: Decrepit Birth: bad name, bad past, good band. Polarity: great record. Bravo!
“We’ve always known that as an entire band—both live and everything on our albums—we’re asking listeners to have a very open mind, more open than a lot of people are capable of. Depending on what song somebody hears, we could fit so many different categories. So if somebody sees we’re “black metal” and then listens to “Japanese and Lovely,” they’ll think we’re “false metal,” or that the person who called us black is an idiot. Vice versa if somebody’s told we’re indie rock and then, God help them, comes to our show, screaming for the door.”
Part two of Jay H. Gorania’s interview with Amber Valentine of JUCIFER.
Lucky number seven! The seventh installment of the Hellbound Handshake Clip Of The Week is a doozy! Pentagram playing “Forever My Queen” at Maryland Deathfest VIII
“While avoiding the bookend records (Suck On This and Antipop) completely, Primus pulled together a set tailor-made to please the devout and focused on fan favorites like “Eleven,” “Pudding Time,” “Golden Boy” and “Southbound Pachyderm” rather than reaching for any “Wynona” or “My Name Is Mud”-sized brass rings (“Jerry Was A Racecar Driver” represented the only bonafide hit in the set) or throwing any curiosity-seeker that may have been in attendance a bone.”
Bill Adams reviews the July 27th Toronto performance by the reuinited PRIMUS. TOM FUN ORCHESTRA opened the show.
“Testament and Megadeth have both been around as long as I have been alive; Slayer is two years older than I am. These bands have been around for a very long time and have gotten exceptionally good at what they do. More that that, they have defined their genre. Watching Slayer perform, it suddenly hit me: this is what everyone else is going for. This is the aesthetic so many other bands attempt to emulate. Not just the sound, either, but the presence, the charisma of the band members.”
Natalie Zed reviews the July 29th performance by SLAYER, MEGADETH and TESTAMENT at Toronto’s Molson Canadian Amphitheatre
“We wanted an album that we’d be excited to play. As much as we appreciate that people love a song like “Amplifier,” we don’t want to play it. So with Throned… we can finally give fans a set with songs from the current album that we actually get off on playing. Maybe we’ll disappoint some people who like our albums because they’re not so abrasive. But in the end, we have to consider what pleases us. And arguably, the fans that don’t attend our shows are not the ones we should aim to please.”
Part one of Jay H. Gorania in conversation with JUCIFER’s Gazelle Amber Valentine about the release of their new album Thrones In Blood
Fates Warning went out on a high note, however, in ending their set with “Through Different Eyes”, taken from 1989’s Perfect Symmetry. Though this was probably the only point in the set which mirrored the awesomeness of Parallels, the feeling of true disappointment never really set, and the audience—ourselves including—left the Webster Theatre on this night feeling fairly satisfied that we’d just witnessed a once-in-a-lifetime engagement.
Even without any accompanying video footage too, Nugent’s Setlist translates incredibly well; culling essential tracks from the extended edition reissues of Free For All and Cat Scratch Fever as well as essential tracks from Intensities In 10 Cities and Double Live Gonzo and Live At The Hammersmith ’79, Setlist assembles a very vivid track list that does conjure the images of a wild-eyed Nugent (check out how “Just What The Doctor Ordered” leads in, and you’ll get it) relishing in the moment – the lights, the attention, the spectacle – and it is the guitarist’s element; he loves every minute.