Thursday, March 22, 2018
Tuesday, March 13, 2018
Raider will be playing their release show March 30th alongside Invicta, Rippr'd and Woofout at The Boathouse in Kitchener! also, CLICK HERE to be taken to the bands Bandcamp page and check out "Urge to Kill"
Wednesday, March 7, 2018
Illicit are a Punk band from Kitchener, Ontario, making a name for themselves in the local scene. As the band works on their new, yet-to-be-named release, they've given us the chance to listen to their newest single "All A Dream" and let you know what we thought about it.
So the big thing here is that this track has two very different modes. Overall, "All A Dream" is a very melodic track, which is cool for a Punk track, it's not very common you hear something like this in Punk. The first half the song maintains a cleaner, more Pop-Punk style similar to that of Good Charlotte or Simple Plan, which caught me off guard a little as I expected something closer to Misfits. With the first half the song, it's a much cleaner feel, all vocals are singing in a clean tone with very little to no rasp behind it. The guitars as well are clean and maintain the melodic tone. From the 2 minute mark though, the song kicks into a much harder vocal style, almost taking over a better version of Hatebreed. I, personally, actually really like the Hardcore tone that Illicit take on, especially in songs like this where it seems to come out of no where and is actually quite surprising and yet, it's almost to be expected as the song was far too peaceful for a Punk track.
All in all, great new track from Illicit, "All A Dream" is enough proof that the Punk scene in the KW area is more than alive and kicking and if you needed any further proof get out to a show!
Illicit will be playing a show at The Button Factory in Waterloo with Orexin, What Freedom, Nancy Viscous and The Nasty, for more information on the show CLICK HERE
Saturday, March 3, 2018
One of the biggest draws to me for "Where Owls Know My Name" is not only the fact that Rivers Of Nihil know how to take everything they perfected in their previous releases and continue to add to it, but outside of the eerie atmosphere they added with the inclusion of the keyboard and saxophone parts, they took a note from Melodic Death Metal. This is especially prevalent in the lead single "The Silent Life" as well as the more intricate and expansive "Single Change (Including the Forest of Transition)". The ladder of which is the longest track on the album, clocking in at 8:34, which is quite impressive considering it doesn't feel like a song that drags out at all. Mixed in with the melodic tone, Rivers of Nihil almost decide to take on a DragonForce approach just after the 2 minute mark, transitioning from an intense keyboard solo into guitar solo. From this point the songs tone shifts, becoming move more hectic and sporadic, with the intensity of the instruments pushing the narrative along and you become more and more engrossed by the song, it pulls away with another saxophone section only to lead into the most impressive and technically implemented solo on the album if not Rivers of Nihil's entire discography.
Front to back, Rivers of Nihil have expanded on everything they've done in the past. "Where Owls Know My Name" is by far the strongest release Rivers of Nihil have released since their strong beginnings more than 5 years ago and there's really no better label for this Death Metal gem to be released through than the renowned Metal Blade Records. "Where Owls Know My Name" will be out March 16th, pick up the album as soon as you can and catch the band on tour with Death Metal tyrants Dying Fetus!
Wednesday, February 14, 2018
Fans got quite a shock earlier at the beginning of 2018 when Between the Buried and Me announced this year they would release not one, but two albums, appropriately titled “Automata I” and “Automata II”. The later of which is set to be released March 9th through the long standing Sumerian Records, a label renowned for its roster. With “Automata I” being so close to release, it's time we delve in and discover what's to come!
“Automata I” kicks off with the first single from the album, “Condemned to the Gallows”. If somehow you missed it (click here for the song) the track is instantly catchy. With a softer intro to ease you into the punishing Progressive Death Metal that's on its way. The first half of the album with what you’ve heard in “Condemned to the Gallows” is pretty similar, Extreme Metal at some of is finest, the first half specifically is much closer to the early days of BTBAM with few and far between exceptions.
Thursday, February 8, 2018
Live Report: Johnny Nocash and The Celtic Outlaws, The Anti-Queens. Hairy Holler and Zack Powers at The Coalition
Written by: Bas Majzoub
This was going to be a good night; Johnny Nocash and The Celtic Outlaws are a hot new band releasing their first EP, and they are supported and by the always fun local favorites, The Anti-Queens.
The Coalition T.O is a good venue, and the show was well organized by the band themselves, without the use of a local promoter; there was a drink special at the bar, and all of the band’s merch was marked down to a measly $5.
Tonight on the bill are Zack Powers, Hairy Holler, The Anti-Queens, and Johnny Nocash and The Celtic Outlaws.
Those guys sounded great, the musicianship was there, as it was clear they had a strong handle on their respective instruments. The songs are upbeat and fun rock ‘n roll swing, with pop culture (“Army of Darkness”) and world music (Greek inspired “Miserlou”) influences. The front-man Zack Powers is energetic on stage, however I get the feeling he’s holding back and is still a little shy; it could be a symptom of their youth, however the rest of the band, despite being excellent musicians, seemed awkward on stage, and the fact that they were all dressed like nerds didn’t help. I look forward to seeing these guys grow.
I’ve heard of this band, though I’ve never heard them, so I wasn’t sure what to expect. Besides the usual guitar bass and drums, the band also sported a sax (with a pedal-board), a fiddle, and a washboard! The saxophone player donned himself as The Punisher, and the whole band looked huge, and so did the music. You can’t help but have a good time with their brand of big-band rock ‘n roll, especially when they’re up there dancing and having a blast. One thing about this band is how strong they are vocally; everybody can sing very well, and they all posses big voices, and when they all chorus up, the building almost shakes! It must be tough having so many members, so their passion must be exuberant, and it shows.
I’ve seen this Thrashy Punk band before, and their energy is as advertised. Good simple songs, well executed with a fun somewhat choreographed live show. They looked like rock-stars, dressed and acted the part. While the rest of the band was having fun on stage, the drummer was keeping it together, pulling in solid tom beats, and was rock steady. They finish the show knees up on the bass drum, guitars pointed to the ceiling, they nail the ending. This band would benefit from a banner, the chemistry and music are there, so is the attitude, a banner would help further their memorability.
Johnny Nocash and The Celtic Outlaws:
The place is packed and abuzz, intro music barely starts, and on appears the black quilt donning front-man, strumming his acoustic guitar, followed by the band, and the party is here. They’re all dressed like outlaw rock-stars, leather vests and string ties, big beards and tattoos. It was impressive to hear how similar (see: identical) their live sound is to their album. Beat for beat, yes, though also the overall sound as well, with a signature electric guitar sound by Memphis Raines playing a sweet sounding Fender Stratocaster. Not to put down the great job the rest of the bands on the bill did, though it needs to be said, the drum sound, and behind the kit, the performance itself, was a class higher than the very competent rest. The band has its sound figured out, and is clearly well rehearsed, and that fact naturally frees the band leader to interact with the receptive and interacting crowd. Given the band’s ‘excuse me, I love you, but go fuck yourself’ attitude, there’s a certain irony to the audience interaction I think. It’s all in great fun, as it was cool to see a lady get invited onto the stage and sing along; she passionately gave it her cringe worthy best, and rocked out on stage. The band did two encores, and subtly once again showcased their professionalism, with every band member on the same page, immaculately delivering their big or, just as importantly, their smaller parts.