The third offering from Sweden’s The Legion, A Bliss To Suffer doesn’t wait to try and crush its listeners. Even with a sprinkling of instrumental spots here and an added sound effect there, the core black/death elements emerge from the beginning of opening track “Shining Redemption” and remain more or less consistent throughout the album as a whole.
A quick historical run down here: Leif Edling began his musical career in the Stockholm, Sweden based hard rock act Trilogy in the late 70s where he worked alongside drummer Håkan “Ian” Haugland, later of Europe. In 1985, Leif launched his groundbreaking doom metal band Candlemass who became well-known worldwide for its fresh pioneering sound
While Heaven & Hell has proved itself as formidable of a live act now as it was first time around in 1981, The Devil You Know is a decent album but unfortunately it isn’t as great as it possibly could have been.
With a Napalm Death concert happening nearby in Toronto on the same night, GTA concert goers were somewhat spoiled for choice on May 15th. Within that context, the crowd that came out to see Woods of Ypres’ debut Hamilton performance on May 15th was relatively small but dedicated to the Canadian group’s unique brand of black- and folk- inflicted metal.
Contrary to their name, the bizarre album cover and the somewhat disturbing images of the quartet in the liner notes, Rumpelstilskin Grinder is a serious band – perhaps too serious.
It was already very cool to have one of the more interesting, eclectic metal tours of the summer run through my city, but to have the five-band Conquer & Curse Tour play a tiny place not much bigger than someone’s rumpus room made it all the more enjoyable.
These guys bring the rock and announce themselves with killer riffs and well placed guitar solos. Tracks like “Snakecharmer” and “Rock Formation” are calibrated for maximum epic impact, true journeys in heaviness that end up on the mountaintop where rock gods dwell and mystic visions abound.
New York State’s Suffocation don’t waste any time on their latest release, Blood Oath. From the moment it bursts out of the starting gate, the album lumbers along with the death metal/ grindcore sound that has become a trademark of the band.
Amesoeurs claims that it grapples with the modern world in its music. On the preceding EP, this was a persuasive assertion. If Amesoeurs still chooses to hold itself up as a sonic social critic, then this album can only be taken as criticism if it is approached as parody.
Chances are that unless you followed Metal Blade’s Metal Massacre compilations back in the mid-eighties you may have never heard Steel Assassin.