Funeral Rain Press Corps

Genre: Heavy Metal
Label: Napalm Records 

Ugh. Here we go again. Another band that’s hyped up based solely on the fact that they’re fronted by a woman. It doesn’t matter if she’s awesome or if she’s terrible, if she’s ugly or hot. I don’t care. Can’t we just talk about the band in general? Could the promo guy at Napalm Records just of said they this band is a badass heavy metal outfit from California and then build into the fact that the vocalist’s name is Jill and that she’s got magnificent metal pipes? Look at that! I got the point across that she’s a she and she can bust out the metal scream without making it sound like I’m trying to turn your world upside down!

But yeah, all of that aside, what we have here is Huntress and their first full length release, Spell Eater. As stated before, this bunch plays heavy metal. It may not be the old school’s definition, but it’s still pretty damned metal in old school spirit! Think of a slightly slower version of 3 Inches Of Blood with more self-restraint and  more vocal variation.

Let’s talk about those heavy metal guitars first. The solo that bust out of nowhere in Sleep And Death was pretty much all you need to hear to figure out what lead guitarist Blake Meahl’s style is all about: playfulness, unpredictability and madness! Manic riffs and out-there solos set aside, guitarist Ian Alden enforces the Metal Is Law mentality fostered by Huntress with his brand of rhythmic ruckus.

Drummer Carl Wierzbicky (who some of you may remember and worship from his work with DarkBlack) kicks out the most purely heavy metal performance of the group. Mid-paced beats and moderately used rolls and the like allow the drums to remain prominent without overpowering the other performances, which I’m sure Carl could of done. The other in the duo of well known contributors  is bassist Eric Harris (formally of Skeletonwitch). Eric’s role in this album is understated. He has shown in the past that he’s got the balls to play bass loud and proud, but he’s kinda forced to the back of the class, as the bassist generally is. But it’s not generally this tragic since this album could of used a little more depth and Eric’s talents could of helped out with that.

What this album really lacks though, is catchiness. Sure the band is good overall, but there’s nothing much here to keep you invested until the very end. I never once found myself singing one of these tunes while I was cooking, in the shower or even just after I finished listening to the album and am walking to the fridge for whatever reason. It’s not a deal breaker by any means, but I probably won’t be jonesing to listen to Spell Eater anytime soon.

Overall: Spell Eater is nowhere near as amazing as all of the hype would have you believe, but Huntress really aren’t anything you should pass up if you have the chance to do otherwise. Yes, there’s a female vocalist. Yes, she delivers the goods pretty fucking well (the rumors are true, she sounds amazing) and looks good while doing it. Other than that though, this album is worth a listen but will probably be rejected based on all of the hype or not given a second chance just to be sure. I suggest you give it a shot.

7/10

Huntress Official
Huntress On ReverbNation
Huntress On Facebook

Genre: Heavy Metal
Label: Napalm Records
Format: Digital Promo (Napalm Records)

After several issues of a couple magazines (most notably Terrorizer) were talking about this female-fronted ‘true’ metal band (and after seeing their singer in next to nothing, honestly) I needed to hear them. And so it came to pass that I got to get my hands on a digital promo of Spell Eater.
I’ve given the album a couple listens now, and I’m quite impressed. Female-fronted bands of late have been leaving me with a listless feeling, like they are just trying too hard, and falling short of their goals; and when I found out that Napalm was taking care of Huntress I was honestly a little bit worried that they may be getting overshadowed by the label’s other, more well-known female-fronted bands. But no, this troupe is definitely not going to get lost in the label, nor do I feel listless after listening. Quite the opposite, in fact!
Think King Diamond if King Diamond was a hot blonde with an affinity for Siouxie Sioux, and you’re getting into the right territory. Musically the band brings to mind Iron Maiden, Black Sabbath, and even some newer Opeth. And well, King Diamond. Galloping guitar and bass, soaring vocals, growls, and spine tingling/finger wrecking solos are brought together to create Spell Eater.
Favorite songs are the lead-off single “Eight of Swords”, which is catchy as hell, “Aradia”, which reminds me a bit of mid-90’s Fear Factory, and “Senicide”, the second track from the album.
In total, I’m definitely loving this album and I’ll be buying it when it comes out.
8.5 out of 10.

Spell Eater Tracklisting:
1. Spell Eater
2. Senecide
3. Sleep and Death
4. Snow Witch
5. Eight of Swords
6. Aradia
7. Night Rape
8. Children
9. Terror
10. The Tower
11. The Dark

Spell Eater Personnel:
Eric Harris: Bass
Carl Wierzbicky: Drums
Blake Meahl: Lead Guitars
Ian Alden: Rhythm Guitars
Jill Janus: Vocals

Genre: Doom
Label: Napalm Records

Coming out next month, Lacrima Mortis (translates to Tear of Death) is the second offering from the Dutch doom mastermind Ed Warby, who is showing not only songwriting growth, but also a penchant for crushing the life out of the listener in a blissful, cathartic way.
Slow, plodding riffs that are heavier than death itself are, naturally, the main course in this feast for the ears. Piano, however, comes to play quite a bit in The 11th Hour’s sound, as does the occasional sample. Ed’s singing is even more exceptional on Lacrima Mortis, with a greater range than what was found on the debut album Burden of Grief.
The “newcomer” to the band is Pim Blankenstein, who has been the death growler for the live band since the release of Burden of Grief. He is replacing Rogga Johansson, who was only present on the debut. Pim’s work on Lacrima Mortis is great, his style of growls complimenting Ed’s clean singing even more so than Rogga (who did a fucking killer job himself). He sounds like he would be a monster on the live stage.
At the end of it all, after the headbanging and the fist pumping and the beer swilling, Lacrima Mortis stands as an album that can also be listened to with headphones and introspection; it an album that will stand monolithic, for me, for years to come. If you like your doom metal to be heavy, melodic, and just plain beautiful, get your hands on Lacrima Mortis, and if you haven’t yet, Burden of Grief as well. Both discs are the beginnings of what I feel could be a doom band that stands on the same ground as Saint Vitus, Trouble, Cathedral, and the mighty Black Sabbath. All they need is the fans to truly pay attention and support.
10 out of 10.

The 11th Hour on Facebook.

Genre: Power A Cappella
Label: Napalm Records

I was a little more than excited when I saw that there was a download link waiting in my Inbox from Napalm Records. Why? Because I had heard earlier that day that I should be receiving the (then) upcoming album from the world’s greatest a capella  metal group, Van fucking Canto!

My initial thoughts on the album based entirely on the promo info, before I actually listened to it (past the deafening “SQEEEEEEE” sight reaction) were as follows:

- Did I accidentally download a Dragonforce album? The cover says “yes”.
-  Could they of chosen a more generic album title?
-  A cover of Sabaton’s Primo Victoria featuring guest vocals by wildman Joakim Broden? Too much!!!

And now, after listening to it for a couple of weeks straight:

After getting over a bit of a sour patch with this album (since I wasn’t instantly enthralled with Break The Silence like I was with Tribe Of Force, fear that all of those “poser metal/gimmick metal insults were true) I had come to find that it is in fact a robust album, full of catchy melodies and a metric ton of fun! Album opener If I Die In Battle sounds like it could be yet another tribute to Manowar… which it isn’t… at least I don’t think it is. Either way, it’s a great way to start things off.

I mentioned a Sabaton cover of Primo Victoria earlier. Yeah. This cover fucking kills! I’m going to go out on a limb and say that it dwarfs the original in terms of awwwwwwesome (no disrespect to Sabaton at all since the song wouldn’t exist without them). After that, Black Wings Of Hate is a beautifully track where Inga takes the lead and just owns it all.

I noticed that in a lot of the reviews about Van Canto feature either no mention of the rakkatakka or they bash the guys who belt this shit out. I think these guys rule! How many of us can honestly do what they do? Honestly, I think they have a much harder job than anybody else in the band (especially Ingo! Up to about five minutes of DOOMDOOMDOOM would destroy a lesser man!) Also mysteriously missing from the spotlight in other reviews, drummer Bastian Emig. The man is a machine and nobody seems to care! Well, I for one salute this (probably) mechanized percussionist for his energy throughout the album and albums past!

Overall: I wasn’t nearly as initially impressed as I was with Tribe Of Force. But after a couple of listens, I found that they are equal in quality. Break The Silence is an excellent album from a band that doesn’t get the recognition it deserves in the metal community. Hopefully this review will change a few minds and bring a few more fans their way. They deserve it all.

8.5/10

Van Canto On Facebook

When: September 3, 2011
Where: Pawn Shop, Edmonton, Alberta

When presented with the opportunity to go to see the Black Path of America Tour with Vreid, Kampfar, and Necronomicon, I was honestly at first not really excited. I’ve been burnt out on live shows to some extent, but I decided to go anyway because I hadn’t heard either Vreid or Kampfar, despite getting the opportunity to get promos for review. Mrs. Blaspheme was also a little on the pensive side, mostly because it was going to be an early show (5 PM) and that meant she had to get off work early and screw around that way.

But we do our thing, go to the venue, wait a little with tanks for both of us, and the show begins with Civil Savage, a local black/death group I’d never heard. But they looked familiar. Most of the members I’ve seen attending shows before, with their bassist very familiar: he’s also the bassist for Sonorous Odium. These guys were pretty fucking good, too! A good mix of black and death, with an original sound (meaning not hypersymphonic or Behemoth clones). Definitely one of my favorite metal bands from Edmonton, I hope to see them again soon.

After a nice and short wait after Civil Savage, Necronomicon hit the stage. Quebec’s blackened death old schoolers are finally back in Edmonton to show us what they’ve got. And for those that are not true believers, see these guys live. And yes, I mostly mean Typhon and anyone else who think Necronomicon are Behemoth wannabes. Fuck do these guys kick ass, and they were much loved by Mrs. Blaspheme as well. For whatever reason they all reminded her of cats, with Rob the Witch and Rick reminding her of lions while Armaros seemed to be more like an ocelot. So black metal dudes that seem to be cats that are from Quebec and beyond happy to be in Edmonton again make my wife happy. The same goes for me. Playing tracks from their entire catalog, Necronomicon really amped up the crowd, playing like they were the headliner rather than an opener. They better be back soon!

Again, a wonderfully short wait later and Kampfar take the stage, using Necronomicon’s drum kit. And holy fuck was this the kind of black metal I needed to hear. True fucking Norwegian black metal with a hell of a lot of folk leanings. Blasting their way through a ton of songs, after their set I bought two of their CDs (Mare, the newest album, and Heimganng, the last one) and Vreid’s V and Necronomicon’s The Return of the Witch. The set itself was full of old and new songs apparently, and many people were screaming along with Dolk the entire time. Dolk himself was on fire, and a very gracious man, constantly thanking us for being the fans we are, as well as the rest of the band. Quite frankly, between their performance and the way the crowd responded, this could have been the end of the night. They played like absolute headliners, it was pure enjoyment for everyone involved.

After the set, when grabbing the CDs, Kampfar’s guitarist (who’s name eludes me, I feel horrible!) was hanging out. I got him to sign my copy of Mare, and he warned me he was not on the album. I asked if he minded signing anyway, if it bothered him to sign CDs he’s not on, and he said he’d be happy to sign. So he did!

Between Kampfar and Vreid there was about ten minutes, at the max. These people are so fucking professional, it’s insane.

Vreid, who I hadn’t heard before remember, got up and ready and turned the night up from ten to eleven. Norwegian black ‘n’ roll FOR THE WIN! You’d think this was the first night of the tour, not the tenth, they performed so hard so fast so awesome, it was unreal. Wicked riffs, killer solos, and a vice-tight rhythm section were paired with performers who were putting everything they had into the show, and at the end of it they were sweaty and smiling. Mrs. Blaspheme and I, up front and stage right, were right in the heart of the storm that Vreid were throwing around; a storm that the crowd responded to with a hunger for more, and Vreid responded by providing more.

I can honestly say I haven’t had that much pure FUN at a metal show before. All of the bands on the bill were awesome, and all of them said they can’t wait to get back to Canada. I know I’ll be at the front when that happens.

In all, it was a perfect night. Not only was it an early show, but and early end on a massively high point. Thanks to Civil Savage, Necronomicon, Kampfar and Vreid for coming. See you all again soon hopefully. You’ve made me love live music again!