Finntroll @ The Opera House 12.08.2013

So, things have been busy lately. But, for the first time in awhile, I went to go see a show yesterday...&...by christ, was it awesome.
It had a solid line-up, Havok, Nordheim, Trollband, & of course, Finntroll. I regret now not hearing of Havok or Nordheim before because they put on a solid fucking show. All of the bands put on a great performance; they all had incredible stage presence, & it seemed as if they were having as much fun on stage as the audience. Far too many bands now just get up, play some songs, stand there like fucking pillars of salt, eternally trapped at Sodom.
It's rare that one sees a show in which every band to grace the stage does a top-notch job & their music is five-fucking-star. Definitely one of the best shows I've seen in years; maybe the best I've ever seen. It was way more than worth the $28.75 I paid. All of my expectations were completely blown away.

Havok was the first to go on. I was surprised at how impressive they were. Their style sounded like a fusion between Death & early Metallica. It's a damn good style! All of their songs were headband-inducing. Half of the time it looked like they were having more fun than the audience up their with their antics, even though I overheard a good number of people say they, "came just to see Havok." They all interacted with the audience which was really great to see. If I had the chance to see them again, without a doubt, I'd go.

Up next was Nordheim - a folk outfit that got up at 5.00 am just to make it here from Quebec City...so, fucking hats off for that dedication! Again, I had never heard of this band, so I had no clue what to really expect out of them. They were fucking solid. Great music. Great stage presence. Great band. I hope these guys drive eight hours to here so I can see them again.

I had high expectations for Trollband since I acquired their album awhile ago & fucking loved it. But...damn...did they obliterate those expectations. I was quite impressed that they sound just as good live, as they do on their album. & they were yet another band that just got up their, had fun playing epic music, joked around a bit with the audience. Rarely do you get great fucking musicians that are also really fucking cool dudes off-stage.
During the Finntroll set, one of Trollband's guitarists was in the audience taking pictures, after I did a double-take & realised who it was, I ushered him to my spot (right in front of the stage) for a better shot. Hell, he put on a great show, he deserved the spot more than I did. He was also a pretty nice dude & we had a small conversation in between headbanging & camera shots. After a few pictures, Routa tossed him the pick he was using (fucking awesome when bands do that); he put it on the edge of the stage to continue taking pictures of the show, but forgot it when he left...so, if by any chance Trollband reads this...I have your pick dude. If you guys are ever back in Toronto, I'll drop it off.

Anyways, the headliner - Finntroll.
Before the concert, I spent more than a month learning their lyrics to the songs I thought they were most likely to play...totally paid off when Routa saw me singing along halfway through 'Ett Folk Förbannat' & gave me a nod & the horns.
Fucking back at ya, Routa \m/
They played a great set. Epic songs! I'm always impressed whenever I listen to Finntroll. They played some classics from Jaktens Tid & their newer stuff off of Blodsvept & every brilliant song in between. I would kill to see this line-up again. It was just fucking awesome.

For my review on Blodsvept:

Go support these bands & purchase their music.
Havok - Unnatural Selection

Nordheim - Refill

Trollband - In The Shadow Of A Mountain

Finntroll - Blodsvept

Amon Amarth [Deceiver Of The Gods] & [Under The Influence] 2013 - Album Reflection

First off, I'd like to apologise about the LENGTHY period between release & review. 

There were some family issues going on early this month, & before that, the nearby creek got sick of being small & decided to become a lake. So, the house was flooded & the power was out for a couple of days before being restored at a leisurely rate. 

The only good news is that I was able to utilise the extra time & get my hands on Amon Amarth's EP, Under The Influence (so-fucking-worth-it).

Amon Amarth - the Viking legends - have been turning out albums that are all very similar to each other, but they aren't the same at all. From Thor Arise to Surtur Rising, each one has been heavy riffing, growled chants of Vikings, Æsir & Vanir, conquests, & the struggle against Christianity - all interlaced with melodies inspired by the god Bragi himself. Yet each one has a new or different element that separates it from the pack. All the releases stand out on their own, rather than all fight over the same spotlight; thus, preventing the band from being damned into a sea of mediocrity. 

I guess I owe it to you guys with the lack of posts - therefore, I will cut short the usual mucking around that I normally do before getting into the 'meat' of the album rant.

Part I: Deceiver Of The Gods

1. Deceiver Of The Gods

The album starts off with this ethereal noise that was rather popular on its predecessor, Surtur Rising - eventually letting through to the guitar melody. This nice piece ends with a solid, heavy riff. This riff is a lot similar to their older stuff than Surtur Rising. This all lets out into a typical Amon Amarth, Viking-inspired fury. It's heavy, it's melodic, it's fast. The usual. The chorus is quite similar to their previous stuff & it all compliments the song quite well before getting back into the furious Viking-riffage. Another verse leads to a breakdown when Loke taunts the audience; but as the Greeks understood, hubris leads to one's downfall...but...erm, that's later on (spoiler if you have no background on Nordic tales). Anyway, everything is solid & memorable. Nice solo. Good replay value.

2. As Loke Falls

A heavy & foreboding melody immediately absorbs the listener & sets the scene for something heavy. A more classic Amon Amarth riff drives the song onwards for a few verses. Again, everything is typical. The heaviness, the thunderous drumming, the leads, Hegg's vocals, & the absent bass (bass would be appreciated in the next recording). A plodding riff fills for the chorus, & then leads into a really, really, fucking awesome riff. The drums take on this folk-y beat. Too bad it was a really short riff. The song ends with the melody it entered with, fading out for a little under a minute. One of the more unique songs off the album.

3. Father Of The Wolf

It took a few listen-throughs before I really loved the song. The intro riff is almost classic heavy metal (I want to say a more furious Judas Priest). This song would be very un-Viking metal if it weren't for the lyrics.  Regardless, I really like it. Even the chorus is nothing like typical Amon Amarth. It's a very catch-y song that one finds oneself singing along with. The guitar harmony after the chorus is a little more like Amon Amarth. All of it blends very nicely together. A simple, yet memorable solo full of bends. It's a solid song, & they don't abandon this little experimentation halfway through so it sounds like one brilliant song, not two. The song rests on a bridge between more classic metal we all cherish & the faster-paced metal of the 2000's.

4. Shape Shifter

The intro thunders in with the Viking furiosity - the booming drums, the plodding guitar, the northern growls. Soon opening up to a tremolo melody. It's all fairly classic Amon Amarth. There's nothing that really stands out in the song. It's just an 'okay' Amon Amarth song. Even the solo sounds tired & like they were going through the motions. It's a nice solo, just not for this song.

5. Under Siege

The song bursts in into your house, thrusts a sword to your neck, & commands you to headbang. Which you do, because you can't help but do it. An Amon Amarth lead over the heavy riffing rhythm guitar. The drums are thunderous. A nice harmony later compliments the song quite well. The solo is simple, yet appealing. It's a repetitive song that just repeats all the previous steps in reverse order. But...ooh, wait, what's this? A bass lead? Fuckyes! & that gives a nice entry to a lead & vocals over top of that. The lyrics...well, what do you think they are about? Again, another typical Amon Amarth song; yet, better than the previous one. The outro has a nice bass riff that goes along well. A solid song. It had memorable parts, but a lot of it was plodding.

6. Blood Eagle

The song opens up with...well...a blood eagle being performed on some poor sod (for those that do not know what it is, read the lyrics). Quite the unique lead in to a song. A brutal lead & the heavy drums follows up. It's very fucking heavy. Very headbanging.  It has a great atmosphere & paints such a grisly picture in one's mind. The bassline is audible (yay!). It can hold its ground against other Amon Amarth greats & stand tall alongside them. A great, solid fucking song. Memorable riffs. The best on the album.

7. We Shall Destroy

A nice, heavy riff with the vocals heavier & lower than many of their other songs. A lead comes in & the Hegg returns to his normal range. A good song to get one pumped up when there is an obstacle to overcome. The guitar plod along, interrupted by some catchy leads. It does get a bit repetitive & bland at times, but for the most part, it is a good song. The drumming is heavy & furious. But none of it is memorable.

8. Hel

A small drum intro brings in some heavy, plodding guitars. A dark mood is instantaneously set. This is further carried along by a synth-y vocal choir. It goes back to plodding along before the synth-y vocal thing comes back giving it a weird, Persian-Egyptian feel that seems like it would be better for Aeternam or Nile. That goes up to the chorus where Messiah Marcolin from Candlemass (an interesting choice) does a harmony for the chorus. It doesn't feel very Viking, but, I do like it. It feels like they were taking another step outside of their comfort-zone. I applaud it. It worked out pretty well. Definitely a tasteful break from the usual Viking-ness.

9. Coming Of The Tide

An unmerciful riff rides in upon Sleipnir. Raging & heavy. Back to the typical Amon Amarth riffing. The drumming is also back to its usual pace. Headbanging is a must. The leads are brilliant, beautiful, & brutal with a great compliment from the drums. A strong piece of the album. The palm-muted galloping gives way to a great solo. It has elements of power metal & their own stuff. It blends very, very well. A nice guitar harmony brings the solo back into a final chorus before ending quite abruptly. My only complaint is that the song felt really short & could have been longer to make those riffs a titch more memorable.

10. Warriors Of The North

The song starts off with a very un-Amon Amarth lead. It has an ethereal feel, unlike the Surtur Rising stuff. A lead more like Amon Amarth breaks in & it begins to feel like an Amon Amarth song again. It has a slow pace that still carries heaviness. The song grows more into familiarity with a tremolo lead with Viking growls. Heavy rhythm riffing takes over as the song hits something darker. The following lead is also quite forlorn sounding. It picks up pace without one noticing & gets back into the standard Amon Amarth-feel with the speed, heaviness, lead, et cetera, et cetera. The song never stays in one place too long; this makes it the longest song on the album without feeling like a long song. The outro follows the intro & has a different feel to it. All in all, a really good song.

Highlights:

Blood Eagle

Deceiver Of The Gods

Coming Of The Tide

Father Of The Wolf

Warriors Of The North

Part II: Under The Influence

1. Burning Anvil Of Steel (Judas Priest)

At first listen, my friend & I thought this, & the other songs, were covers. But no, these songs are just done so fucking masterfully that one can mistake them for covers. It's just so goddamn solid that I still cannot believe that they wrote it. The lead is very British metal-esque with the the palm-muted driving riff. Everything is where it needs to be. Hegg loses his growls & goes for a a demonic-sounding Halford. The lyrics are also mistakable for being written by a classic metal band. There is even the classic Judas Priest synth bits. The final chorus just seals the deal on all of. Man, they really fucking nailed it with this one.

2. Satan Rising (Black Sabbath)

It took me all of ten seconds to identify which band they were trying to do for this one. As soon as one hears that tri-tone, "Fucking Sabbath!" They not only play Sabbath's stuff well, but capture the mood completely. Then Hegg's vocals begin & your jaw drops at how well he can do a lower version of Ozzy. Fucking christ! This is solid! Another piece they nailed perfectly. I could picture it being played on Black Sabbath or Paranoid. Then it opens to an all-classic Sabbath riff as everything speeds up. 

3. Snake Eyes (Motörhead)

Aaaaahh, the sounds of Motörhead. Well, not quite. But damn close. The rock 'n' roll riffs of Motörhead are present. It just sounds like a take on Ace Of Spades. Hegg's vocals don't really nail Lemmy, but I don't think I've ever heard anyone come close (that would take decades of Jack Daniels & smokes). But everything else is right on the mark. 

4. Stand Up To Go Down (AC/DC)

I think I have to give my favourite to this one - for the lyrics. Just. Fucking. Brilliant. It's fucking hilarious. The guitars, bass, drums, & vocals are all where they need to be. Although it's repetitive, it needs to be; it's AC-mother fucking-DC. Everything has been done so well. All the elements that need to be there, & not a touch more. I cannot express how thrilled & surprised I am by this whole EP. It's all mistakable for the real thing...if they could forge famous painting or sports memorabilia this well they could use it all to buy a small island & never get caught.

Highlights:

The entire fucking EP

In conclusion:

So, if this were a contest, who would win?

*drum roll*

Under The Influence - by leaps & fucking bounds

As Deceiver Of The Gods was another solid Amon Amarth release, the EP was something completely different. I've never heard anything quite like it before, & I don't believe I ever will again. It is just is so damn unique, so well done that it blows away any expectation one could possibly have. This is definitely one for the treasure vault of Xerxes.

I never want to give perfect scores just in case something better comes out..then where do you go? Also, I feel that I need to be absolutely 'wow'd' for something to receive 100%. But, this....it's just....it's fucking BEYOND a 10/10...I honestly cannot score this one without undercutting it somehow. Move aside Iron Maiden's Brave New World, you have company.

Eternal Shredder can score Deceiver Of The Gods, though. It earns a solid 8/10.

The Importance Of CD's and Vinyls

With today's day and age it is becoming increasingly popular to (rarely) purchase music online via iTunes or whatever other virtual music stores exist. If that's the case, it's no wonder that the music industry is slowly starting to shift away from CD's and especially vinyls (but most modern "pop" shouldn't even be played on the radio let alone produced on vinyl, so that's not a problem). The problem is that good music (mainly metal) may or may not follow this trend if HMV decides to monopolize the music distribution industry or if iTunes decides to buy the rights to the CD or something else just as ridiculous. That is why, as fans, it is important to continue to collect and purchase our favorite albums on CD and vinyl (for the really special ones). If bands continue to receive support from their fans buying their music it will result in more reasonable concert and merchandise fees. The purchase of a physical copy simply benefits the purchaser and encourages a continuation of CD and vinyl production which is valued among dear fans.

Here is a reason why I will always buy my favorite albums on CD: So not long ago, a pretty large storm hit and cut off nearly all the power in the city. The afternoon was very rainy and proved to be a challenge getting home. When the sun set we brought out the candles and lit them in each room. Now, having a lady over would have given me enough to do but get this: I brought out my old diskman and hooked it up to a small battery-powered speaker. So now we've got a candle-lit room graced by the sound of Ozzy's voice in the background. There was something almost divine about that evening; as if in all that darkness and lack of electricity, music, my sliver of hope in the world, was there despite the troubles. See, if I had all my stuff on iTunes I may as well have rocked myself back and forth and stared at the wall (which I couldn't see very well). After about midnight I put on some Nine Inch Nails and fell asleep.

After that day I began to realize just how valuable my CD collection is to me and it reminded me of why I started to collect them in the first place. If people were to realize that all this MP3 business is taking away from the true magic that music used to be, they would consider actually owning some pieces of their favorite music.

Black Sabbath [13] 2013 - Album Review

It’s been 35 years since the last full length released with the gilded original line-up…& sadly, that will continue. Damn, so close. Some bollocks with an unpaid contract or Ward just wasn’t up to the task or whatever.

The replacement: the guy from Rage Against The Machine

Ah what the fuck is the bollocking?!?!

What kind of logical choice is that? Dio & Ian Gillan were good choices for filling in the void for Ozzy. The guy from RATM to replace Bill-fucking-Ward, what kind of malarkey is this? Well, I guess we cannot let a little poor drumming get in the way of the return of the forefathers of metal! (Okay, most of them)

…& this better be a damn good return since the last album they gave to us was that mess of Forbidden, 18 years ago. Good name though; Forbidden for human consumption, a Forbidden evil unleashed from Pandora’s Box, Forbidden from any display case of a proud metalhead.

One place it’s not Forbidden? The stack of beer coasters in my house.

So, onto 13. Upon glancing at the song list, one could mistake that they were all pulled out from an existentialist’s philosophy book, ‘End Of The Beginning’, ‘God Is Dead?’,  ‘Age Of Reason’, ‘Damaged Soul’, so on… I was really excited at this point - Butler’s iconic lyrics were back & as existentialist as they were on Black Sabbath, Paranoid, & Master Of Reality.  Ahhh, everything is back in place (minus Ward).

1. End Of The Beginning

It took me a few tries before I started liking this song. But even now, as I write, I find it okay. It’s fine. Alright. At par. It’s what I expected - a Sabbath song. Nothing to ‘wow’ you here. It enters with the Sabbath-doom feel with a heavy riff from Iommi. That drags on until Ozzy supplies his vocals…but they are definitely worse for wear. They lack that signature Ozzy-sound. Tired sounding is probably the right description. Eventually it picks up to a faster riff, sounding similar to their mid-years stuff. Ozzy’s singing gets better here (maybe it was a warm-up before) & we break into a pretty nice solo that lets out into a much better riff, circa not-from-their-mid-years. But riff-wise, that’s it…three main riffs. As the song finishes, I can’t recall the first two very well; so, little value to remember here & play it again.

2. God Is Dead?

This one opens up with a slow, melancholic riff. But unlike its predecessor, I immediately took to this track. I also noticed that unlike the first, I was headbanging; something I completely missed on the first song. The lyrics are pretty damn solid.  Heralding back to  Black Sabbath - brilliantly existentialist. It sounds as if Butler resurrected Nietzsche to write these. The song hops back & forth between the brooding, heavy chorus with “…Is God dead?” & the sad, slow verses & does this quite well. Even the drumming is half-decent (although, it’s probably that the rest of the song is so good that I can overlook the simplistic style).  After two-thirds of the song, it completely changes to this wicked palm-muted, off-beat riff that leads up to a short, simple, yet hauntingly good solo. Again, headbang-inducing. The strongest song on the album.

3. Loner

There are three aspects that set this song out from the rest on the album - the first appearance Ozzy’s iconic vocals, the first riff is very classic Sabbath, & the simple drumming suits the riff. But somehow the song missing hooking one completely in. It’s still a really good song, but it missed the perfect mark. Some more really solid existentialist-esque lyrics.  The solo is pretty ear-catching & longer than the previous two songs’ solos. Overall, a good song but something felt missing from it.

4. Zeitgeist

A calm, acoustic song complete with bongos. Wait, I’ve heard this before…this is like Planet Caravan off of Paranoid…no, it IS Planet Caravan. I loved Planet Caravan, it’s one of the greatest Sabbath songs in fact…this one not only misses the mark, it's gone off in the complete opposite direction. I get the feeling that they were going for trying to relive the glory days with this one. I was bored halfway through the song. I’m not going to go in-depth with this; it’s Planet Caravan, only duller.

5. Age Of Reason

The drums just don’t seem to fit the intro riff very well. Iommi is playing a Sabbath riff, & then there’s a RATM drum beat. It all feels poorly stitched together. But once past that, it gets a little better. The riff drones on with Ozzy singing about a dystopian world that draws its atmosphere from Paranoid (they really went with that on the album). The remainder of the song has a plodding-feel, with the heavy riffs & uninspired drumming. At least Iommi & Butler save this one from mediocrity. Ozzy & the drummer just seem tired with this one. The solo in the last minute & a half definitely helps to swing in favor of enjoy-ability.

6. Live Forever

The intro riff just seems to plod around, until it figures out where it’s supposed to be going & enters into a decent riff. It’s a good song, I guess. Nothing draws me to it, yet nothing repulses either. Lacklustre seems like a good descriptive word. The lyrics take a rest from existentialism & turn to a topic of dismal fate. It’s one of the shortest songs on the album, but seems to be quite long due to the repetitiveness of it. The solo is much better; almost too good for the song. I want to praise or crucify this one, but no matter how many times I re-re-re-re-play it…each time I find myself right on the fence with this one.

7. Damaged Soul

A heavy, depressing intro riff that really strikes the mood quit well. This fades into a softer, similar riff as the vocals enter. The lyrical base is of a dismal theme again, but it comes off a lot better. All of the early elements hint at a very enjoyable & cathartic song. Definitely for when one is in a bad mood & needs an appropriate song to enjoy (one could also listen in a great mood & still enjoy).  Then after the second verse the solo star- oh, nope nevermind, that’s a harmonica. Suits the mood very well. After the third verse, NOW the solo starts. A grim feel despite being mid-paced. Iommi’s guitar wails some painful notes that rend at the listener’s soul. This breaks for a verse, & then jumps right back in with a less-melancholic solo…kind of up-beat actually. This would be the break in the catharsis…ah, very well done. A heavy song that sticks with you after listening to it.

8. Dear Father

A rather interesting riff that I can’t help being reminded of early Black Label Society when listening to it introduces the song. The lyrics are a perspective of a victim of child molestation from the church - a touchy subject. But it’s pulled off well. The chorus has a lost, desolate feel that mirrors the lyrics effectively.  It’s quite a powerful song when examining it. Ozzy does quite a bang-up job at delivering the lyrics that leave a lasting impression upon the listener. The song continues in the vanilla format, verse, chorus, verse, chorus, etc. until it changes up the mix with a verse that speeds things up & sets the mood into a frenzy-feel as the lyrics take a confrontational role against the perpetrator. It falls back into the verse, chorus routine - lasting to the end of the song signalled by a familiar thunder storm & a church bell. Oh, I see what you guys did…

In conclusion:

I enjoyed the album for the most part. Some good, classic Sabbath riffs. But, in calling this one, I would say it’s mostly dry. A fine, but bland sandwich. It lacked the qualities that made early Sabbath great & well-known. If the purpose of the album was to end on a better note than Forbidden, then mission accomplished. Eternal Shredder gives this album a 7/10.

Cheers!

Highlights:

God Is Dead?

Damaged Soul

Loner

Children Of Bodom - Halo of Blood Autographed DigiPack Review

So I've pre-ordered a Children Of Bodom Halo of Blood CD/DVD Digipack. The nice thing is that, as a promotional offer, an extra booklet autographed by Alexi Lahio was included. Though it did take a little longer to arrive than expected, it was worth the $25 total. The contents include the Halo of Blood CD, the album making of DVD, a booklet with cover art and all song lyrics (doubles as a poster on the other side), and a second autographed booklet. The Digipack is shown below on the bottom half of the first image.

First off, the album itself is amazing, especially on CD compared to the MP3's that were available on YouTube earlier. It is one of COB's most intense albums and musically it is pretty damn sweet. The DVD shows clips from the making of the album. It gives a cool insight into what goes on in the studio and shows how songs are planned/arranged. Besides, it's always fun to see the guys mess around in the studio and, surprisingly, there wasn't a lot of drinking footage this time. The DVD is only about 25 minutes in length but is still an interesting watch for the dedicated fan. The Digipack "case" is a nice three-fold structure with the CD and DVD on the left and right side, respectively, and a slot for the booklet in the middle. The autographed booklet is the perfect collector's item and goes along nicely with my signed COB skate deck.

Overall this was one of my best metal purchases and COB really pulled through with reaching out to the fans with this one. The only thing I would have liked to see is the rest of the band's signatures on the cover. Perhaps that wish will be granted at the concert.

Eternal Shredder gives this product a 10/10 with the suggestion of including other autographs. It is indeed a pretty sweet catch.

Cheers!

International Day Of Heavy Metal! - December 12th

The International Day of Heavy Metal is a recently-created holiday that may have been overlooked last year; however, we think that this is a very important day that metalheads should celebrate. With metal being such a large part of our lives it deserves a day to be recognized and shared. The day includes blasting your favorite albums, wearing your band T-shirts, and introducing someone to the epic genre that is heavy metal. And, of course, what could be better than a concert on that day? Hopefully with efforts made to increase the recognition of this holiday bands would actually take the time to set up a gig, even locally, to give metalheads somewhere to gather.

If there's one day to let your spirit free and immerse yourself completely in metal, this is the day. December 12th is the International Day of Heavy Metal and more information can be found on the website here. Let's make it a kick-ass day this year!

Keep it metal \m/

Cheers!

Finntroll [Blodsvept] 2013 - Extensive Album Review/Reflection

A few years back I got hooked on folk metal, & like a faithful crack addict, have been hooked ever since. Now I know this may be a little late, but whatever... Released back on the 22nd of March of this year, Finntroll's latest album, Blodsvept, had quite an amount to live up to after the enjoyable trip through the psychotic carnival affair that was Nifelvind. Any connoisseur of folk metal should remember the elating high experienced from Nifelvind - the brilliant melodies of Finnish folk mixed with the thunderous metal. Nifelvind can be seen as their epitome by nailing the balance of brutal & silly.

Enough reminiscing...
So, as the day came closer to release, I found myself questioning the band's advertisements. Gone was the slick-backed hair, silk suit, pencil 'stache, pocket watch Vreth, & in was this steam-punk garb that might look good in one of those goth/hipster nightclubs. Enter: blood pressure spike - I feared they had hit the highest peak & it was a downhill run from here. But don't get me wrong, nothing against the steam-punk outfits, just the thought of, "Christ, where are they going with this?"
Regardless, I purchased the album as a loyal Finntroll fan & upon hearing the first note of the title track, I could breathe a sigh of relief. I then bathed in the brilliance of yet another damn-good Finntroll album.
Yes, "brilliance".

01. Blodsvept
An intro just shy of thirty seconds of trees, birds, & a troll (a nice summer's day?) lets out with a gargantuan roar to introduce the first riff. & the psychotic carnival feel returns, how I have missed thee... The melody blends Finntroll's signature sound of brutal & silliness. No disappointment here. I even found myself singing along after the first listen-through (but the only thing I could accurately pronounce was 'blodsvept'...so, I screamed the shit out of 'blodsvept'). The memorable key melody enters in the latter-half of the song, which seemed peculiar to me since I expected it to be a driving force. Great first song.

2. Ett Folk Förbannat
The first few times I heard this song, I never really enjoyed that much (no clue why); but now it's become my second favorite on the album. The very memorable guitar riff opens up to beautiful keys teasing at the end of each line during the verse. I cannot listen to this one without windmilling, wrapping my hands on the nearest surface to the drums, & whistling the melodies. This song can easily get stuck in your head for long periods of time (which can be annoying, but hell, there are worse songs to get stuck in your head out there...so, it's a squatter, albeit a welcome squatter).

3. När Jättar Marschera
The song enters heavy & plods along with a black metal feel (but not quite the one of Ur Jordens Djup). Well, that just abruptly ends to give way to another fun, iconic Finntroll melody. This time, complete with a brass section. An interesting choice, but it was done so smoothly it knocked me on my ass without realising it. I found this one to be another song I needed time to warm-up to. I found that each time I listened to this one, I was only enjoying it halfway through. With the first half being good, but lacklustre; & the second, another fun, Finntroll hit.

4. Mordminnen
A rather unique song with the continuation of the brass section for folk metal even. Unique is memorable. But is this a good memorable, or a bad, herpes-kind-of memorable?
Abso-fucking-lutely good kinda memorable. A brilliant song that has one headbanging from beginning to end. One of best on the album. The brass section is the driving part of the song that makes this one of the more memorable tunes in the folk metal world. It's repetitive, but not to the point that gets dull or tedious. A good amount of repetitive.

5. Rösets Kung
...& back is the psychotic fair theme with a wonderful melody from the keys. The guitars & drums drive the heaviness of Finntroll, with the keys adding the signature silly sound that works out wonderfully. This then turns into a lull with a call-&-response thing going on that suits the song quite well. It the builds back up with heaviness until the middle of the song with the keys taking the lead role again.
...Wait, the fuck am I hearing?
It sounds like someone trying to clear their throat & do that jazz 'do-do-dadaa-da-do' thing...&...by christ, it's brilliant!
To accentuate the silliness with that. It's definitely a Finntroll thing.

6. Skövlarens Död
An eerie fog emerges with the intro of this song presenting a great atmosphere. Complimented by melancholic keys which persist for the first half. Like När Jättar Marschera, it sheds its skin to something completely different. As much as I enjoy this new riff, I would have much rather seen the melancholic keys hang around for a little bit longer. I think we could have been good friends given time, but instead we are restricted to a very short time span. Overall, it's good. Nothing great, but not bad either.

7. Skogsdotter
...I don't even know what to say...Fucking...Wow.
The keys, the guitar, the drums - brilliant!
When this song begins I need to headbang & drum with the flat of my hands on a desk or something. & the song proper enters & every section of my brain screams the same thing, "FUCKING HEADBANG!" You just cannot say 'no' to this.
Another melody begins as Vreth does his usual snarling-Troll vocals over them. It blends so efficiently. The song then dances back & forth between brutal, palm-muted chugging to silly, folkish keys. Then we hit this divine chorus with the keys & brass section again that just turns into eargasm. One must windmill & snarl along with this, it's law as far as I'm concerned. With the song being so brilliant as it is...I cannot help but think this was written for Nifelvind & somehow entered a wormhole to be deposited on Blodsvept (Yes, I'm still going on about Nifelvind).
Not only is this the best song off  Blodsvept, even the artwork by Skrymer in the booklet is the best - some topless redhead with horns...who could refuse that???

8. Häxbrygd
The greatness continues into this next jewel of Blodsvept. In a stark contrast to the previous song, there is no faffing around here. The brutal, heavy atmosphere is established early with the heavy use of snare that entrances listeners to headbang. The brass section returns to bring forth yet another great melody (this thing is turning out to be a stroke of genius). After the first minute, everything is brought together - with the guitars, keys, drums, & vocals - the song is quite mesmerising. & then the song just keeps getting better. Every time the chorus returns, it gets a bit more intense, yet so subtle that one does not notice until twenty-or-so listens after. A worth song to follow Skogsdotter.

9. Två Ormar
The song begins with a rather typical Finntroll feel - the heavy & the silly. & the feel continues along with the drums keeping a nice gallop-y beat. When the brass section returns yet again for a fun little teaser, before we take a trip down memory lane to visit the psycho carnival (see, it's not just me...it's a damn good theme). Listening to the riff reminds me of the music video for Under Bergets Rot. Just a whole lot of looney, silly, & (Finn)trolling.
...Yeah, that was bad. Won't happen again.

10. Fanskapsfylld
The first time I listened to the album through & through, I completely missed the song. It just sounded like a continuation of Två Ormar. It's a short song with not much to say. It's got a fun melody, it's repetitive, then it  changes halfway through to something completely different (a thing I shall call Blodsvept Syndrome - see När Jättar Marschera & Skövlarens Död). But the two melodies seem to compete for dominance in my head when I listen to it, rather than work together. Maybe it's just the song was too small for two good, driving melodies?

11. Midvinterdraken
The intro sounds like it's right out of one of those demented, weird Tim Burton movies. Very haunting. For Finntroll, it works out well & is quite memorable indeed. The guitars then jump in to mirror the keys. All of this, sounding very well. It's unlike the typical Finntroll songs, but a very strong song for the album. This ends the album on quite the good note. A step in a different direction & it payed off - a tip of my hat.

In conclusion:

Questions must be answered, is Blodsvept a good album?
Definitely
Is it Nifelvind?
No, but very close.
Is it worth the $22.50 I paid at HMV for it? (other music stores available of course)
Yes, & more.
Is it good enough to be played over & over & over & over & over & over again?
Indeed it does. & when the neighbours complain about the noise, (Finn)troll them harder by turning up the volume.
I lied, it happened again (the terrible troll pun).

Highlights:
Skogsdotter
Ett Folk Förbannat
Häxbrygd
Rösets Kung
Mordminnen

Eternal Shredder gives this album a 9/10. 10 points for being another epic Finntroll album and -1 points for not being Nifelvind. Sorry, but that's just how it is.

Cheers!

iMosh.com - Scam Concerns?

It has been brought to our attention that iMosh.com, a rather famous metal/alternative merchandise online shop has received a number of complaints. Four reports have circulated online regarding customers not receiving their orders and their money being collected. Some people have waited months and received nothing. We believe the metal community should be aware of this in order to come to their own conclusions regarding the legitimacy of the site and whether they should purchase merchandise from it or not. You can check out the customer stories here.

Personally, a friend ordered some necklaces and received them on time. Everything seemed fine and worry-free. We got a pretty good impression of the site and decided to order some more things. This time, the money was collected and the order never came. We waited months, and nothing showed up nor did we get any information regarding shipping issues. One day, my friend told me that he tried ordering the necklaces again for a holiday present for ourselves and it turned out that the same thing had happened; money was collected and the order never came. He alerted me that it turned out the site was a scam. Whatever the case may be, we've read other complaints and won't be taking our chances again. It's rather unclear weather they have distributor problems or their shipping has trouble arriving. One thing is for sure: there is no guarantee.

Look out for yourselves and let us know what you think.

Cheers!

Children Of Bodom [Halo Of Blood] 2013 - Album Review

June 11th was the last official release date of Children Of Bodom's new album Halo of Blood. The album was hyped since the release of the cover art and has pulled through to be one of Children Of Bodom's defining albums. With a band such as COB, having nearly their entire discography regarded as classic Bodom albums, it's always nice to see them take a step in the right direction. Halo of Blood is their 8th studio record and was produced by the band and Mikko Karmila at Johnny Danger Studios in Helsinki. The album, for the most part, has sparked satisfaction amongst fans especially those who were disappointed in the previous; Relentless Reckless Forever. It is important to realize that each Bodom album is a separate record and that the band does not go out of their way to sit down and plan a second Hatebreeder. Instead the band insists on keeping things new and exciting for the fans. The evolution of COB has definitely taken a good turn with the release of this unique and very versatile album while still remaining true to the band's iconic sound and image.

Want to purchase Halo of Blood? You can do so at the COB website.

Now for the album review:

01. Waste of Skin: This track provides a sweet marching introduction to the album leading into a melodic and iconic COB riff. The song demonstrates the amount of speed, melody, and power that will be present throughout the album in other tracks and is also the first view into the mixing of the record. The drums, guitars, vocals and even bass (though it could be a bit louder) are mixed very well on this track and throughout the album. The track is reminiscent of the album Blooddrunk in terms of attitude and harmonies and is overall a great intro. Note that it has a slightly unconventional song structure (which is a nice surprise).

02. Halo of Blood: Being the long-awaited title track, Halo of Blood delivers by being the fastest and most intense song on the album as well as the fastest song that COB have written. It has an eerie and haunting vibe to it created by the black-metal-inspired tremolo picking and blast beats. Alexi's solo really adds to the song not only through melody but also by being reminiscent of the album Are You Dead Yet?. Overall the song would definitely make a concert favorite for the fans and will also remain in COB's legacy as their fastest and most intense track.

03. Scream For Silence: This track starts off with an amazingly classic lead riff that could not be mistaken as another band's. The rhythm of the song makes it an easy headbanging listen for Bodom fans regardless of their album of preference. There is a lot of melody packed into this track to keep it interesting along with the awesome group-chant parts in the vocals. Janne's keyboard solo gives that COB vibe to the song and the melody is an absolute original for the band. While likely making another concert favorite, this song is one of the defining songs and highlights of the album.

04. Transference: Despite being the first single released from the album and being played on COB's album ads, this track has a lot to offer. The dark tone and atmosphere of the song goes hand in hand with the album theme and wintery cover art. The lead melody is surprisingly dark and well-composed for a catchy ad signature single. The harmonies and solo, both on Alexi's and Janne's parts, give that extra kick to the song while making another reference to the tone of the Are You Dead Yet? album. The track is a real pleasing one and, considering that it's the publicity single, that says a lot about the album.

05. Bodom Blue Moon (The Second Coming): Alongside its intimidating complexity and Hate Crew Deathroll feeling, this is another highlight of the album. It gives the feeling that the Bodom-titled tracks do and shows off the band's attitude in their music. Again, with the group-chants and incredibly melodic guitar and keyboard solos, this song is a likely classic that is most deserving of its Bodom title. It gives the album a sense of wholeness as a COB release and is certainly a fan favorite.

06. The Days Are Numbered: This track is another fast one. It contains powerful and heavy riffs, speed, intensity, and more melodic creativity. Another album highlight, this song brings a real treat by being one of the best composed songs on the record. Staying true to death metal and COB's well-known power sound, you couldn't resist headbanging to this one. The ambiance of the keyboards gives it a back-to-the-roots Follow The Reaper feel and would help make it yet another concert and headbanging favorite on the album.

07. Dead Man's Hand On You: Famous for being COB's slowest song (even slower than Angels Don't Kill), the song starts off with an atmospheric acoustic guitar and grand piano. The vocals slowly creep in with the drum kicks and slowly drift into the piercing guitars. This will become that song that will make you pull out a lighter and sway it to the beat at the shows as there seems to be a unifying element in this song that would pull the fans in together. The keyboard solo wonderfully accents the dreary mood of the song and the guitar solo perfectly leads back into the chorus. This has to be one of the best songs on the album and possibly one of the greatest songs COB has written.

08. Damaged Beyond Repair: This track is the perfect headbanging song on the record. The rolling drums, chugging guitar, and Blooddrunk-like melody is a call to mosh and to throw your hair around like mad. Again, a concert favorite and one of the most enjoyable songs on the album. It's quite difficult to not to like this song, even for a die-hard old-school COB enthusiast. It's a wonderfully energetic song that really pumps you up after Dead Man's Hand On You.

09. All Twisted: This track is another power-filled track with a good rhythm. The rhythm is very aggressive and has a slight Hatebreeder keyboard melody. It is a strong track on the album that certainly shows off the band's style, creativity, and performance through their musical elements. The song is well-composed and shows that the album is kick ass into the 9th track.

10. One Bottle And A Knee Deep: This song ends the album on a healthy note by keeping the intensity of the rest of the songs. All instruments are allowed to shine in this compact Bodom song and it reminds the listener of COB's defining traits while finishing off the EP with a blast.

11. Crazy Nights (Loudness Cover): This track works well with COB's sound and becomes a much sharper version of the song. Alexi's vocals as well as the chants are perfect for this song and make it a pretty damn great cover.

12. Sleeping in My Car (Roxette Cover): COB could not have gone wrong with choosing this song. This must be one of the most successful covers COB has done. The vocals are performed perfectly and the guitars complement the melody of the song with that Bodom tone. This cover is likely one of the greatest covers the band has done and certainly would have deserved to be put on the Skeletons in the Closet compilation.

To sum it all up, Halo of Blood  is all its been hyped up to be and even more in a certain sense. Not only is it a demonstration of COB's progressive musical talent but also a step in the band's evolution that somehow makes the album special compared to the last few. A recognition-deserving record that makes evident the work that Bodom has put into its epic composition and production. Eternal Shredder gives this album a 9/10. It deserves 8 points for music and 1 point for being a very pleasant surprise.

Well done Alexi, Jaska, Roope, Janne, and Hennka!

Cheers!

New Nine Inch Nails Album 2013 [Hesitation Marks] - Commentary and Song Review

As many may have heard, Nine Inch Nails have announced the new album Hesitation Marks for release on September 3, 2013. To give us a sample of what's in store, Trent has revealed the new single "Came Back Haunted" from the upcoming album. If you have not yet heard this single it is available to listen here.

The new single has a very cool chorus rhythm, synth display, and ambient mixing effects that really do add up to make it a good track. The message appears to be from a slightly personal perspective regarding Trent but, it is obviously not going to be the deepest and most meaningful song on the album. There's a good reason why it's the first single released. Overall, for a NIN fan from 1989 to 2008, there's something about this song that gets you pumped for the rest of the album.

With the new cover art released and a new single available, it's hard not to get excited for Hesitation Marks. The single has, however, provided a division in the NIN fan base. Many old-school fans are quite disappointed in the new song because it lacks what "made NIN special". Other fans appreciate the single and its musical creativity and are generally happy about the return of NIN since 2008. Then there are the elitist fans that don't listen to anything past Broken and daydream of Trent's return to guitar-based music. Nobody really knows Trent, but someone that understands his music knows that each album he has released represents a different time in his life. Trent is married and has children now, so anyone thinking that this album will be The Downward Spiral 2.0 is mistaken. Trent is no longer depressed or caught up in substance abuse and his new music will reflect that. Despite not being overly pessimistic, based on the single, the album appears to have a vibe similar to that of With Teeth. The nice thing is that it sounds good and original, making Trent's older releases that much more special while making this one that much more exciting to wait for.

In addition, a new tour and details for ticket pre-sale have been announced. They are available here.

Want to pre-order Hesitation Marks? It's available here!

Cheers!

Welcome To ETERNAL SHREDDER Metal Music Blog!

Hello to anyone and everyone interested in the metal music genre and those looking for a community space involved with metal. This blog has been made with the intent to provide the metal community a cool place to go to when in need of a true metal blog featuring commentary, album review, news and announcements, and discussions of everything metal. All compact and easy to browse for the convenience of metalheads looking to support the genre and their favorite bands.

Cheers!