Blood For the Master isn’t a radical step forward, but nor, given its traditional metal underpinnings, is it a step back. It is exactly the album Goatwhore needed to make right now.
Natalie Zed reviews the February 12th Toronto performance by Lock Up, Goatwhore and Strong Intention. Live photos by Albert Mansour.
We might have been missing one of the headliners, but all bands were so good on this night that no one, including yours truly, could care less. This was three hours of death metal at its finest.
“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.
“Soon enough, all ceremonial flames were lit and out strode the dread beast Watain to perform their black mass. What a show. From the opening strains of “Malfeitor”, Watain held the Rickshaw rapt with satanic attention. Their reputation preceding them, the band completely revel in malevolence and black theatrics, from coating themselves in pig’s blood to utilizing flame as the major light source onstage.”
Kyle Harcott reviews the November 14th Vancouver debut by WATAIN. Also on the bill were Goatwhore, Black Anvil and local support from Galgamex.
There is something solid, straightforward, almost wholesome about 3 Inches of Blood’s brand of traditional heavy metal that is particularly satisfying. Cam Pipes sang about orcs and hammers while unleashing a series of throaty old-school wails—what was there not to love?
Natalie Zed reviews the May 13th Toronto performance by 3 Inches of Blood and Goatwhore at the Mod Club
Austin’s 6th Street area is the performance location for much of the musical side of South by Southwest—a massive interactive, film and music conference and festival. Historically, unsigned bands came to get noticed by suit ’n tie record label reps; however as it has evolved, signed underground and mainstream bands have dominated showcases, and schmoozin’ and boozin’ is underway as backroom deals and negotiation unfolds. Hell, it’s gotten to the point that Metallica played last year.
Jay Gorania recaps his take on this year’s SXSW Music Festival. In this first entry, he reviews the Relapse Records showcase as well as sets by Torche, Goes Cube and Goatwhore.
Goatwhore is one of those bands that lights a fire under my ass. Though generally regarded as a black metal band, they’re actually so much more. There’s a rugged punk attitude, the dirge ’n sludge inherent to Louisiana metal bands is certainly present—offering some definite doom sensibilities—and never before has their thrash influence emerged as prominently as it has now with the release of Carving Out The Eyes of God, easily their career’s highlight thus far.
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.
Filmed live at the Palladium in Worchester MA in April of 2007, this historic DVD document is a great snapshot of stalwart US indie label Metal Blade’s then-current roster.