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Live Review: Mayhem with Guests, November 21, 2011, The Rickshaw Theater, Vancouver, B.C.

November 25th, 2011 Filed under: Reviews - Live by Editor in Chief

(CLICK TO ENLARGE | Photos – Chris McKibbin)
(Top: Mayhem – Bottom: Hate)

Live Review – Mayhem with Abigail Williams, Hate and Keep of Kalessin
Monday November 21, 2011
The Rickshaw Theater, Vancouver, B.C

On a cold, stormy November night, Mayhem finally arrived in Vancouver intent on performing in front of new and old black metal fan alike. A solid opening lineup in the form of Abigail Williams, Hate and Keep of Kalessin warmed up the cold Canadian crowd for the legendary Norwegian black metal veterans.

Abigail Williams made the mistake of opening the show with a rather slow set. While hardly any songs were fast paced enough to get the crowd going, it seemed most of the crowd was content to listen through the walls out in the lobby while drinking a few beers and trying to stay awake. Many comments of disappointment were floating around said lobby due to their last performance in Vancouver being a lot more lively and the evenings lack of a keyboard player.

HATE were your typical bland, generic, extreme black death metal that would appeal to fans of new Behemoth and Belphagor, however every song sounds the same, with brutal blasting mediocre over produced “show metal”. While the set was decent enough, there really was nothing that set them apart.

Keep of Kalessin, another (early) Norweigan black metal, mixed with more modern medolic folk-black-death-metal took the stage as the third and final opening act. They left the crowd hoping for much more, playing only their 2008 and later tunes of folk black metal, even though they were definitely primed for a better set. Perhaps not bringing the crowd to much of a boil, the opening acts still served their headlining master well bringing the crowd together, albeit a little luke-warm.

While many fans were on the fence of seeing Mayhem live because ‘they are not what they used to be’ they delivered a classic set consisting of many songs off “De Mysteriis dom Sathanas” and “Deathcrush.” While there were no dead ravens, decayed and exhumed clothing or any cutting on stage it was still like experiencing Mayhem live when they were in their prime. Atilla’s grotesque costume and singing into a human skull and spine during highlight classics like “Freezing Moon” and “Funeral Fog” really set the bar for what people were hoping to see and hear from them. Atilla’s vocals were sinister, dark and supreme with an added touch of distinct almost operatic range. Necrobutcher’s classic bass lines mesmerized the crowd while getting to see a true legend of black metal on stage. Hellhammer’s precise devastating blast beats held the chaotic elements together, while Rickshaw Theater’s improvement in sound only added to the enjoyment of the show.

Other notable songs included “Chainsaw Gutsfuck”, “Pure Fucking Armageddon” and “…Ancient Skin”.

It is awesome that Mayhem can still deliver the goods and definitely worth seeing again!

By: Eileen ‘Ruthless’ Davidson

WANT MORE LIVE REVIEWS? CLICK HERE

Copyright © 2004-2011 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.

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EXCLUSIVE: 21 and Under With…An Autumn For Crippled Children

October 2nd, 2011 Filed under: 21 & Under With..., Exclusive! by Editor in Chief

Only five years may have passed since An Autumn For Crippled Children began emitting their intricate collection of depressive black metal musings, but in that time they have released two albums of incredible depth and atmosphere that together point to a band destined for relative greatness. Ensconced in Holland’s north-western Friesland region – an area whose idyllic world is one of separation from the country in which it finds itself, the members of AAFC are content to lay back and anonymously let the music alone draw the masses. Vocalist / guitarist / key tinkler MXM granted ABORT Magazine’s UK correspondent John Norby a brief audience, sort of enthusiastic at first and then, as you’ll notice, getting a bit tired. Or something.

John Norby: Firstly, just to introduce readers to the band, can you detail the circumstances of AAFCC forming?

MXM: We’ve known each other for some years now. We’ve all been playing in bands and projects but this is the first time we all played in one band. We formed through a mutual taste in music.

ABORT: Lost was fully in the vein of the whole depressive black metal subgenre – Forgotten Tomb, Xasthur, The Axis Of Perdition, Melencolia Estatica, etc. While those elements remain in this album there seems to be a progression in sound to add elements characteristic of the likes of Agalloch meets a more fuzzed-up Mastodon. What were your initial thoughts on developing your sound when going into the writing of the album?

MXM: Personally, I don’t really see the connection to the bands you mention, but I don’t really know them either; just a couple of songs. For Lost we had no plan. We just came together, all of us with different ideas, and worked on the songs until we were satisfied. We aimed for a melancholic atmosphere and tried to do something truthful and pure.

ABORT: How much of the music flowed naturally when you were writing? Were there particular moments on Everything were you had difficulty fitting material together or coming up with ideas to create the songs?

MXM: Indeed the music comes out unforced. We first write basic song structures and add different things later. A song must be good, even in its ‘bone’ construction. For Everything we agreed to focus on good song structures. Letting the songs flow naturally, creating a desired atmosphere. There where no difficulties in fitting material together or coming up with ideas.

ABORT: What’s your typical process when putting a song together? Is it a totally collaborative process between all three members?

MXM: All members have ideas. We come together and work on songs until we are all satisfied.

ABORT: You’re a very prolific band, having released two incredibly intricate albums in such a short pace of time.

MXM: Thanks. There’s more than a year between the two albums, which is pretty normal these days. The first album was released a year after it was recorded. After the recording session, we soon began working on new material. Everything was finished [around] May 2010.

ABORT: Was everything written from scratch for each album or have you had material lying around that just happened to fit the band?

MXM: We all have, of course, riffs laying around but most of the writing is from scratch.

ABORT: Who and what influenced you musically and lyrically on the new album?

MXM: Lyrically, it’s all about personal experiences and happenings. Musically, we try to come up with our own sound and block outside influences, which is difficult. I think we are, as always, influenced by somewhat older music; mainly metal from the late eighties and early nineties.

READ THE ENTIRE INTERVIEW IN ISSUE 17 OF ABORT. COMING SOON

myspace.com/crippledchildren2009

By John Norby

WANT MORE EXCLUSIVES? CLICK HERE

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Live Review: Arch Enemy with DevilDriver, Skeletonwitch and Chthonic, September 22, 2011, Vancouver, B.C.

September 23rd, 2011 Filed under: Reviews - Live by Editor in Chief

(Photo – Chris McKibbin)

Live Review: Arch Enemy with DevilDriver, Skeletonwitch and Chthonic
Thursday September 22, 2011
Commodore Ballroom, Vancouver, B.C

First up, all the way from Taipei, Taiwan, the black metal act Chthonic. Despite having seen this band once before, Chthonic did not fail to surprise. With the very recent release of new album Takasago Army, the band members have given up their previous corpse-paint laden, demon-like appearances for military styled costumes. This change in image coincides with the album’s lyrical themes which focus on the Taiwanese experience of World War II. Though this album also marks a departure from composing music in a Western vein- the music is now inspired instead by Taiwanese folk songs- Chthonic’s delivery remains the same; a tight-stage show, energetic performance and all-around brutal set.

Next, Ohio’s Skeletonwitch. Largely under the radar until as late as 2007’s Beyond the Permafrost, this band is a force to be reckoned with. Definitely getting my vote for performance of the night, Skeletonwitch slayed with a non-stop barrage of thrashy goodness. Vocalist and Cam Pipes (3 Inches of Blood) look-a-like Chance Garnette killed it with a highly energetic performance that combined humour, near tragic mic spins and unabashed begging for some B.C bud. While the rest of the band remained more or less stationary (save drummer Dustin Boltjes who was a fucking animal) Garnette made sure the crowd was entertained the whole way through.

The much anticipated DevilDriver hit the stage next. In hindsight these guys rounded out the already quite varied bill with an arguably more mainstream sound then the rest. Their accessibility clearly played out in the mosh pit which all but exploded the moment the band started their first track. Though their energy couldn’t match that of Skeletonwitch, bassist Aaron Patrick held down the fort, making his mark on all corners of the stage and spicing things up with some antics that included almost drowning when a roadie/tech-guy poured water down his throat during a bass riff. All things considered, DevilDriver lived up to their reputation for delivering an impressive live show and will surely bring the legion out again next time they come through.

Finally, the featured band of the evening, Arch Enemy. With the insanely talented Amott brothers and the powerful Angela Gossow at the helm, AE has always managed to enthrall metal heads and destroy skeptics. While it’s a pleasure each time the band rolls into town, gracing us with its unique brand of Swedish melodic death metal, what made last night stand out was the arsenal of fresh tunes gleaned from the latest album Khaos Legions. Besides the new tracks, AE were in top form and as usual performed like a well-oiled machine. It turns out the crowd had not, as it seemed, blown their load with DevilDriver; evidenced in the violent mosh pit and flying bodies throughout AE’s set.

archenemy.net
devildriver.com
skeletonwitch.com
chthonic.org

By Alxs Ness

WANT MORE LIVE REVIEWS? CLICK HERE

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Live Review: Vreid w/ Kamfar, Necromonicon and Scythia, Sept. 5th, 2011, Vancouver, B.C.

September 7th, 2011 Filed under: Reviews - Live by Editor in Chief

CLICK TO ENLARGE | Photo – Chris McKibbin)

Live Review: Vreid, Kamfar, Necromonicon and Scythia
Monday, September 5, 2011
Rickshaw Theatre, Vancouver, B.C

Here we were, a small number of dedicated Vancouver metalheads, gathered at the Rickshaw Theatre on a Monday night to see bands from both our home country as well as Norway. Though the theatre could have fit three times the capacity of people who attended that night, that did not stop the devoted few from rocking out as each band executed their metal upon us.

Scythia played catchy riffs and melodies. Their use of Middle Eastern scales as well as keyboard and oboe harmonies displayed their song writing proficiency. Lead vocals were sometimes inaudible, but eventually improved with a different microphone. Poor sound mix may have caused a lack of guitar presence and heaviness which could have improved had there been two guitarists. While I would have preferred a distorted lead guitar over some of the clean rhythm passages, drummer Celine Derval was creative with toms and adaptive to stylistic changes.

NecronomicoN was guitar-heavy with only one guitarist. Deep growled vocals from Rob “The Witch”, coupled with heavy riffing and lead, reminded me of Vader. Drummer Rick dazzled with off-beat cymbal work during triple time signatures. NecronomicoN used backing samples, one being a sample of traditional First Nations music with vocals and drum. The entire band would sometimes surprise me with short bouts of silence in songs. Rob’s tremolo guitar riffs sounded like black metal, except with low instead of high guttural vocals. Despite similarly styled songs, NecronomicoN still delivered.

Kampfar’s vocalist, Dolk, performed with good stage presence and audience communication/ engagement. Drummer Ask flawlessly shifted between tempo changes and smoothly executed blast beats. Jon Bakker’s bass tremolo picking had good timing. Kampfar’s instrumentally busy music contained chord progression-based riffs. Oddly enough, some riffs were fun yet heavy, being energetic and almost danceable! While the band builds their intros by grabbing people’s attention and getting them into the song, I would have liked to hear more guitar lead and solos, and maybe a more melodically flowing bass line.

Headliners Vreid were abundant in technical lead guitar work. A passage with clean guitars and a busy bass line displayed hints of a progressive sound. At one point, they had lead guitar melody over rhythm guitar during a verse with vocals on top. Melodic guitar solos were also present as well as distorted lead over clean arpeggiated guitar. Sture (vocals/guitar) and Storm (guitar), even had a harmonized guitar duet break. The drummer, Jørn “Steingrim” Holen, breezed through the tempo changes. Blast beats were steady and fills were fast and smooth. Great vocalist too.

Sture had a sense of humour about the “lazy motherfuckers at the back” and even dedicated a song to them! When he announced the songs, it was almost like telling a story.

By Linda Lockwood

WANT MORE LIVE REVIEWS? CLICK HERE

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ABORT Is Proud To Sponsor: DARK FUNERAL w/ guests, Feb. 15th, 2012, Rickshaw, Vancouver, B.C.

August 29th, 2011 Filed under: ABORT Presents..., News/Calendar/Industry by Editor in Chief

DARK FUNERAL
February 15, 2012, doors at 7pm
19+

Swedish black metal marauders Dark Funeral perform at the Rickshaw Theatre February 15. With guests Abigail Williams, Inquisition, Gigan, presented by The Invisible Orange.

Rickshaw Theatre (254 E. Hastings,604-681-8915)

Tix $25 in advance / $30 at the door / $55 VIP package (includes meet and greet + signed poster)

Presale tickets available exclusively at Enterthevault.com on August 18
General tickets on sale September 7 at Scrape Records, Ticketweb.ca and Enterthevault.com

FACEBOOK EVENT

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Album Review: Burzum – Fallen

May 26th, 2011 Filed under: Reviews - Music by Editor in Chief

Album Review: Burzum
Fallen
Byelobog Productions

All preconceptions fall aside listening to Burzum’s Fallen. Admittedly, I’d never paid much heed to the Norwegian one-man band, operating under the assumption that much of the hype surrounding Burzum stems from its founder, Varg Vikerne’s infamous past rather than any real musical achievements. Needless to say, I was wrong. Not only is Fallen a solid classic black metal album, it offers a few surprises as well. The most evident of these is Vikernes’ inclusion of eerily beautiful clean vocals and hushed whispers. When juxtaposed with his raspy screams and ominous growls, they open up the tracks by creating a dynamic sound that could not be achieved by growls alone. It’s a brazen move really, but one that Vikernes manages to pull off with unexpected results.

Repetition is another key element of Fallen. Though not unusual to Black Metal, and most other genres of music for that matter, Burzum’s take on repetition is entrancing. When overlayed with clean vocal melodies, spoken word, screams and whispers, the repeated riffs and choruses create an atmospheric landscape from which the vocalizations ebb and flow. Another interesting aspect is the changes in mood triggered by certain sections of the songs. For instance, Vanvidd’s chorus, sounds almost joyful with its soft singing and simple riff. This feeling is countered, however, especially at the half-way mark, by ghoulish growls and tortured wails.

Though the intentionally poor production quality takes some time to get used to for those not accustomed to it, Fallen is truly a masterpiece that only gets better over time. This album is highly recommended for those who enjoy haunting music that is both ambient and consuming.

burzum.org

By Alxs Ness

WANT MORE ALBUM REVIEWS? CLICK HERE

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NEW VIDEO FROM DIMMU BORGIR NOW ONLINE

December 23rd, 2010 Filed under: News/Calendar/Industry by Editor in Chief

ABOVE: NOT the new video from Dimmu Borgir (we like this one better)

Well it seems those kooky kids in Demon Burger have once again outdone themselves as evident in the video “Gateways” from their current Nuclear Blast Release ABRAHADABRA. Oslo’s finest have gone beyond the norm on this one, as they perch themselves upon a throne in the midst of a “Wicked, Winter, Wonderland” Personally, we thought they were endorsing one of those “Got Milk” ads (with the volume off), but don’t worry there’s blood.

Shagrath is looking mighty “Frosty The Deathman”, while sporting his custom made Ralph Lauren Ram Horns ($1,400.00 Available at all Zellers Outlets) good for you Shagrath! (not to be confused with “Shadrach” from Beastie Boys’ Paul’s Boutique) let the Black Metal masses know that “White is Alright” (hmmm…that did not come out quite right -Ed).

“Dimmu Borgir,” the new video by Norwegian symphonic black metal band, DIMMU BORGIR, is now available for viewing at Nuclear Blast’s VEVO channel. The video was created by Katapult Films (Rammstein) director Sandra Marschner (Marilyn Manson, Children Of Bodom, Mando Diao).

The track “Dimmu Borgir” comes off the band’s recent album, ABRAHADABRA, which debuted at #42 on the Billboard Top 200 chart, #5 on the Top Hard Music Albums chart, and #6 on the Independent Current Albums chart. ABRAHADABRA also debuted at #4 on the Top Rock albums and #30 Top Albums charts at iTunes (U.S.) the day of its release. In Canada, the album debuted at #4 on the Nielsen Soundscan Top Hard Albums chart.

DIMMU BORGIR just completed their headlining “Darkness Reborn World Tour” of North America. Read the ABORT review here

dimmu-borgir.com

Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this publication, in whole or in part, in any form or medium without express written permission from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use is subject to our Terms of Use.

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Live Review: Dimmu Borgir w/ Enslaved and Guests, November 21st, Vancouver, B.C.

November 26th, 2010 Filed under: Reviews - Live by Editor in Chief

(Photo – Scott Alexander)

Live Review – Dimmu Borgir with Enslaved, Blood Red Throne and Dawn of Ashes
Sunday, November 21, 2010
The Rickshaw Theatre, Vancouver, B.C

First band of the night- the recently reinvented Dawn of Ashes - debuted their new blackened melodic-death metal sound to an eager Vancouver crowd. Having begun their career as an Aggrotech act back in 2001, DOA unveiled their new style with the release of Genocide Chapters through Metal Blade this September. Though the transition was certainly a relatively extreme one for the L.A based band, their contribution to the genre is pretty straightforward: skull crushing double kick, powerful, catchy groove riffs and soul melting vocals are all present but lack a real uniqueness to set them apart.

Though less extreme in appearance then the preceding Dawn of Ashes, Blood Red Throne dominated with some relentless death metal. Vocalist Vald –aka the Norwegian George Fisher- was an absolute animal onstage and though comparisons to the aforementioned CC front man are warranted, Vald has a unique presence nonetheless. Decimating with track after track of non-stop brutality, the boys maintained absolute precision, their accuracy and speed underscored by their ability to make it look so easy. With a set that included both older material such as “The Children Shall Endure…” and “Chaos Rising” as well as newer tracks such as “Taste of God” and “Deranged Assassin,” Blood Red Throne proved that they are flawless live and definitely worth seeing.

Depending on who you ask, it could be argued that this is truly a co-headlining tour- maybe not so on paper, but in merit. Needless to say, the anticipation for Enslaved has been huge especially considering this is their first time ever playing in Vancouver. On top of that, their latest album Axioma Ethica Odini has seen this band progress as an experimental band, pushing their sound further and further into the unique realm of music they have created thus far. As a self-described progressive, psychedelic black metal band, this four-piece is masterful at creating dynamically rich, dark and beautiful songs and as it turns out, equally masterful at recreating them live.

With an ominous symphonic intro, the always epic Dimmu Borgir stormed the stage. Though there has been some dissent among fans since the 2009 departure of bassist Vortex, Dimmu show all signs of having moved on. Their latest album, ‘Abrahadabra‘, shows the band taking a step in a different direction with the inclusion of the Norwegian Radio Orchestra on the recording. Though their set at the Rickshaw was sans-Orchestra, Shagrath (vocals), Silenoz (guitar), Galder (guitar) were backed by Daray (drums) and newest members Cyrus (bass) and Brat (keyboards) – creating an impenetrable wall of sound that in characteristic Dimmu fashion, would subside from time to time, for eerily quiet moments.

Dimmu Borgir Set List:
Xibir

Spellbound (By the Devil)

The Chosen Legacy

IndoctriNation

Dimmu Borgir

Gateways

Chess With the Abyss

Born Treacherous

A Jewel Traced Through Coal

The Blazing Monoliths of Defiance

Vredesbyrd

_________

Encore:

The Serpentine Offering

Puritania

Progenies of the Great Apocalypse

Mourning Palace

Perfection or Vanity

By Alxs Ness

WANT MORE LIVE REVIEWS? CLICK HERE

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CD Review: Enslaved – Axioma Ethica Odini

October 21st, 2010 Filed under: Reviews - Music by Editor in Chief

CD Review – Enslaved
Axioma Ethica Odini
Nuclear Blast

Self-described as a Progressive, Psychedelic Black Metal band, since 2000’s Mardraum, Enslaved have worked tirelessly to push the boundaries of genre definitions and create a sound which is uniquely theirs. One listen to their latest release Axioma Ethica Odini and it is immediately apparent that they have continued to stay the course. Having nearly mastered the art of dynamics, with this latest release, Enslaved offer the listener an experience of brutality and beauty, light and dark, all in a one hour time-span. As an antithesis to the “insert verse here, now chorus, now breakdown” formula adopted by less creative bands, this experimental five-piece has constructed a self-sustainable, auditory entity that commands all the senses, if only for a short time.

As has been observed by writers, critics and fans all over the world, there are usually two distinct paths that a band with such longevity will take: either they ride out the wave of their earlier hits/continuously create music in the vein of that which brought them renown in the first place; or they explore the possibilities contained within their music and push their sound wherever their creativity sees fit. Though the latter is by far the riskiest proposition, it often yields the most interesting results. In the case of Enslaved their progression has been so steady- extending over more then half of their discography- that it is an integral part of their identity at this point.

With such a seemingly organic creative process it’s exciting to see where the future will take Enslaved. “Lightening” points to new possibilities with Herbrand Larsen bringing his distinctive melodies to the fore, acting as a dual vocalist rather than a secondary character to Grutle Kjellson’s powerful growls. Perhaps future recordings will see Larsen continue to take a more assertive approach. Who knows? The only real certainty with Enslaved is that change is imminent and though they have a characteristic style, it is consistently being refined and improved with every subsequent release.

Enslaved perform here in Vancouver, with Dimmu Borgir on November 21st, 2010

BUY TICKETS HERE

myspace.com/enslaved

nuclearblastusa.com

By Alxs Ness

WANT MORE CD REVIEWS? CLICK HERE

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DVD/CD Review: Immortal – Live at Wacken 2007- The Seventh Date of Blashyrkh

October 19th, 2010 Filed under: Reviews - DVD by Editor in Chief

DVD/CD Review – Immortal
Live at Wacken 2007- The Seventh Date of Blashyrkh
Nuclear Blast

Immortal’s latest release The Seventh Date of Blashyrkh documents the band’s epic performance at the Wacken Open Air festival back in 2007. Having temporarily called it quits in 2003 due to personal issues, their Seven Dates of Blashyrkh mini-tour in 2007 was an important comeback; reasserting the band’s dominance in a genre that has had a strong resurgence with an increase in media attention and various documentaries over the past 5 years. This package is pretty straightforward- live performance on the DVD, live audio on the CD, no bonus features, just straight-up Norwegian Black metal the way the legendary Immortal’s been doing it since 1990.

The current line-up consisting of Abbath (Vocals/guitars), Apollyon (bass) and Horgh (drums) stormed the stage to greet the 70,000 + fans in attendance. Though they had most likely suspected it from the start, those present were in for a treat. With the exception of Blizzard Beasts, Immortal played at least one track from every album in their discography including favorites such as “At the Heart of Winter,””Wrath From Above,””One by One” and “Blashyrk (Mighty Ravendark).” To top it all off, the pyrotechnics and lights added a nice touch and coupled with the high sound quality of the recording made for an entertaining and seamless audio/visual combination.

Just like the CD/DVD package, their performance was pretty bare bones, no surprises here. Realistically this is for the best-fans attended the performance with certain expectations in mind and while Immortal didn’t make history here, they met those expectations without letting anyone down. One of the highlights on stage was Abbath’s showmanship which always somehow contains brief moments of hilarity- need I mention his infamous ‘crab walk’? It’s nice to see a band kick ass on stage all the while not taking themselves too seriously.

immortalofficial.com

nuclearblastusa.com

By Alxs Ness

WANT MORE DVD REVIEWS? CLICK HERE

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ABORT Is Proud To Sponsor: DIMMU BORGIR w/ ENSLAVED and Guests Nov. 21, 2010, The Rickshaw, Vancouver, B.C.

October 12th, 2010 Filed under: ABORT Presents..., News/Calendar/Industry by Editor in Chief

A foreboding Wagnerian majesty will soon shroud Vancouver BC.

Launching the “Darkness Reborn Tour” on November, Norway’s infamous symphonic black metallers DIMMU BORGIR return to the western hemisphere on a headlining, 32-date run across North America supported by fellow countrymen Enslaved and Blood Red Throne, plus Dawn Of Ashes from Los Angeles.

November 21, 2010
Rickshaw Theatre
354 E. Hastings. Vancouver, BC
ALL AGES
Tickets $30 advance and $35 at the door
Available at ticketweb.ca, Scrape Records and Zulu Records

Presented by The Invisible Orange
Sponsored by ABORT Magazine

BUY TICKETS HERE

FACEBOOK EVENT PAGE HERE

dimmu-borgir.com

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CD Review: Triptykon – Eparistera Daimones

April 2nd, 2010 Filed under: Reviews - Music by Editor in Chief

CD Review – Triptykon
Eparistera Daimones
Century Media

Celtic Frost fans waited far too long between the Vanity/Nemesis and Monotheist albums, only to have their resurrected hopes crushed when Tom G. Warrior announced the collapse of the band widely hailed as the progenitor of modern black and death metal. Never one to turn his back on those who made him the larger-than-life name he is, Warrior has returned with a new band, Triptykon, and a new album, Eparistera Daimones.

Straight out of the gates, you know this is more than just a continuation of Celtic Frost. The opening dissonance of the first track, “Goetia” is instantly reminiscent of “Triumph of Death” from the Hellhammer classic Apocalyptic Raids. This segues brutally into a stunningly harmonic riff that sounds effectively like the roar of bomber planes at cruising altitude. Tom G. Warrior’s vocals have been run through a ring modulator effect that provides just the right amount of evil to his already legendary death grunt vocal style, and lyrically this is the most blatantly satanic Sir Warrior has ever been.

From here the album unfolds at a slower, more crushing pace. Once the guts of the album begin to unravel, the concepts of earlier Celtic Frost finally begin to show. The song “Abyss Within My Soul” is a very good example of this- it fuses a slowed down, de-tuned riff that isn’t a million miles removed from the intro to “Morbid Tales” (the song, not the album), and we see a return to the tragic vocal style first used on tracks like “Babylon Fell” or “Sorrows of the Moon” from Into the Pandemonium.

Before we get too far along thinking this is a plodding doom metal release, we must look at the fifth track on the album. “A Thousand Lies” is an absolutely skull-crushing track that reminds one (via lead-pipe cruelty) why Tom G. Warrior sits high on a throne overlooking the genres of death and black metal. This is music to murder by; unrelenting, unrepentant, and absolutely malicious in its intent.

The production on this album is massive. The guitars are absolutely monolithic, and the vocals are perfectly mixed in, to complement the wall of sound; many audio engineers have a hard time getting this one aspect of metal production down to a science. The bass and drums are present, although both lack personality. This seems more a matter of performance than recording acumen though.

Tempting though it may be to call this an instant classic, there are moments that overstay their welcome (‘The Prolonging’ is a 20-minute long testament to this). There are also times when the ideas have clearly been overworked past their vitality. The nod to dark ambient experiments on prior Celtic Frost releases also falls short of the mark- “Shrine” just isn’t long enough to mature into its potential.

However, when all is said and done, Eparistera Daimones (“To my left, the demons”) is everything rabid fans of Celtic Frost could have hoped for. Gone are the unrestrained experiments of the Apollyon Sun project, yet at the same time this is so much more than just a rehashed album for the fans only. This is a distilled potion; a discordant liturgy from a long-established master of the form.

triptykon.net

By Keith Durocher

WANT MORE CD REVIEWS? CLICK HERE

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Live Review: Kreator w/ Kataklysm, Evile and guests, March 19th, Vancouver, BC

March 20th, 2010 Filed under: Reviews - Live, Shooting Gallery by Editor in Chief

Find more photos like this on ABORT Magazine | ABORT TV’s Official Online Street Team/Forum

(Photos – Scott Alexander)

Live Review – Kreator w/ Kataklysm, Evile, Lazarus A.D. and Lightning Swords of Death
Friday, March 19th, 2010
The Rickshaw Theatre, Vancouver BC

What could be said about a stellar line-up of Heavy Metal both old school and new, under one roof? A killer venue, a perfect hardcore setting outside (Main & Hastings) and the ultimate and certainly most dedicated legion of Vancouver’s Metal elite all congregated under the dark blanket of the downtown eastside at The Rickshaw Theatre to embrace the beginning of what looks to be another great year for loud (live) music in our little hipster-ridden city.

Blooming promoters The Invisible Orange once again have brought the masses what they ultimately crave: great bands, great venue and lets face it; they delivered the goods. To most music fans they recognize who “keeps it real” and when you have promoters who actually listen to the bands they book…everyone wins.

First up: a pair of Metal Blade acts, California’s Lightning Swords of Death kicked things off with a good ol’ fashioned set of straight forward crunchy power metal with a dash of Black Metal thrown in. The gents pulled tracks from their upcoming release The Extra Dimensional Wound and had bassist Menno going all Cliff Burton on that ass with a quick bass solo that was worthy of mass praise, which is exactly what the crowd gave him. We’re off to a good start.

Next up – Wisconsin-based act Lazarus A.D. shredded through an average set, good guys but more clichés than a current issue of Kerrang. Not that they didn’t deliver, it just didn’t seem to entice the older, more seasoned metal vets that had started to pile into the venue. Can’t win ‘em all.

As any real die hard metalhead knows, the UK has always delivered the goods and the goods came in the form of Evile. All the way from Huddersfield, UK, these Earache Recording artists had no problem grabbing everyone’s attention right from the start. With a set comprised mostly of songs from their current Infected Nations release, they stormed through the set with such brute force and commanded the stage as if they were in fact the headliners. Drummer Ben Carter is a motherfucker on the kit and these boys were a warm welcome from some of the snobbish American acts that appear on most of these packaged bills.

Canadian act Kataklysm needed no introduction as the only Maple Metal act on the bill had the crowd eating out of their hands immediately, the Montreal-based band has a history of putting on a great live show and vocalist Maurizio Iacono had no problem belting out the energy, especially when it came to performing new songs from the band’s forthcoming album Heaven’s Venom! Due out this Fall. Of course tracks from 2008’s Prevail kept all in attendance satisfied with a dose of old classics. Yes, we have yet to mention specific tracks, but between the excitement in the air and the moshing and drinking, it was hard to pinpoint every track, not to mention being entertained by witnessing the gear-humping, moonlighting members of 3 Inches of Blood (on an off day) working the show like some Canadian “good ol’ boys”. Talk about a hurting industry.

Not hurting tonight, was Nuclear Blast Records, who must be grinning from ear to ear this year, as the one act to help keep the label on top of the metal charts is Germany’s Kreator. The second visit from the band in less than 12 months, Mille and company grasped a hold of the Rickshaw and refused to let go from beginning to end. “Even better than the last time” said one reveler, sporting his Kreator shirt, toque and patch. Jesus the merch table must have had a hell of a night as the kids kept the line full even during the bands set. Yes the ‘Hordes of Chaos’ kept their allegiances to band alive and well in Vancouver on this evening.

From the opening chords of “The Choir of The Damned” to “Phobia” and the thrashing delights of the classics “Pleasure To Kill” and “Flag of Hate” (show-closer) old fans and new had no reason to complain about anything, as the band gave their all and it still shows that in this day and age of piracy and bootlegging, bands like Kreator have never turned their back on the fans that still thrive on their live shows.

An all out assault on the mind and body, aggression, rebellion and exhaustion were the 3 things that we all endured through this relentless set. Bravo.

By E.S. Day

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Book Review: True Norwegian Black Metal (Hardcover Edition) by Peter Beste

March 19th, 2010 Filed under: Reviews - Books by Editor in Chief

Book Review – True Norwegian Black Metal (Hardcover Edition)
Peter Beste
powerHouse

Just as the title suggests, True Norwegian Black Metal focuses on the Norwegian Black Metal subculture mainly through photographic form. What’s interesting about this collection of photographs is that while they primarily feature members of bands from the early Norwegian Black metal scene (AKA. 2nd wave of black metal), they were all taken nearly a decade after the scene was fully developed. These photos feature not only key players in the development and dissemination of the philosophies behind the early scene but also survivors of the chaos, madness and bloodshed that followed in its wake. The absence of those who helped form the scene but were permanently or temporarily eliminated as a result of being murdered or committing murder (or various other criminal acts) is poignant. In their absence, Beste captures some of the history; Mayhem’s first jam space, Euronymous’ front door, the Elm Street Rock Café and various landscape scenes of Norway.

The beauty of True Norwegian Black Metal is that it can be appreciated on many different levels. Firstly the scale of the images (11.25” X 14.25”) and their quality make for a visually stunning and aesthetically pleasing collection. The diversity of subject matter-bands, individuals, fans and natural landscape- are captured sometimes in an obviously staged manner and sometimes very candidly. The care that Beste has put towards capturing the moment and feeling of each subject seems worthy of a subculture in which style and “self-expression” are extremely important. Beste is able to capture the human elements – humor, isolation, despair, introversion, teenage angst, backstage antics and the people behind the alter-egos- as well as the larger-than-life aura that emanates from the black metal personas and the scene in general.

What’s great about this book is that the images are allowed to stand on their own without categorization or any specific explanation. There is a sparse array of quotes from black metal musicians and European philosophers throughout, but since these are given special treatment as well –each placed on its own black page- they don’t speak specifically to their adjacent image but rather to the philosophy and beliefs of those depicted. The lack of page numbers encourages the reader to go through each image carefully, allowing them to process the visuals in a more subjective rather then anthropological way. This format gives the reader the option to make their own conclusions and to experience the photographs in their own way. Of course, since this is documentary photography, it is Beste who has selected these images, edited and framed them in a specific manner to tell a particular story in the way he sees fit. However, since the presentation of this story is open ended, Beste coaxes rather then forces us to travel the path he has laid forward visually.

Another highlight is the contributions made by Metalion, founder of the influential Norwegian metal magazine Slayer. A book dedicated to Norwegian Black Metal, featuring relatively current photographs of its most significant figures would not be complete without some representation of the past. These pages, comprised of photographs, letters, show posters and interviews are largely a tribute to the fallen, namely Dead (ex-Mayhem vocalist) and Euronymous (ex-Mayhem guitarist). In a way they put a real face to the condensed biography and black metal timeline located at the start of the book. While many of the photos found in this section are fairly common, the letter written by Euronymous to Metalion after Dead’s suicide is morbidly intriguing. Equally intriguing and at times entertaining are the interviews conducted by Metalion with Euronymous and Dead, Varg Vikernes and Demonaz (Immortal) respectively.

The gargantuan True Norwegian Black Metal will surely find its way onto the coffee tables of the disciples as well as the curious. No matter what the viewer has invested into the story behind the images, the photographs themselves are captivating and reason enough to warrant a look-through. While there is much depth here, there are also humorous and pathetic moments throughout. One obvious conclusion one can draw after spending some time with this book, is the fascinating way the fundamentals of rock music –sex, drugs and rock and roll- have managed to carry over throughout the history of heavy music; even bleeding into one of its most extreme sub-genres – True Norwegian Black Metal.

powerhousebooks.com

By Alxs Ness

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CD Review: Unleashed – As Yggdrasil Trembles

March 10th, 2010 Filed under: Reviews - Music by Editor in Chief

CD Review – Unleashed
As Yggdrasil Trembles
Nuclear Blast Records

It’s been 19 years since the death metal band, Unleashed, “unleashed” their first album out of Sweden. Their newest release, As Yggdrasil Trembles, is number 10 in their discography and is again a seed that will infect teenagers’ minds with powerful and engaging metal musicianship equal to any of their earlier albums quality. But don’t suppose that As Yggdrasil Trembles is just a twin of a previous Unleashed album because although their style hasn’t evolved, it hasn’t deteriorated either.

As Yggdrasil Trembles is an album that’s very easy to listen to –tempos and riffs change in each songs tight structure defeating redundancy—making Unleashed’s sound somewhat of a gem because in their 20 year career they’ve maintained their “easy to listen to” style without dipping so much as one toe in the tempting pool of commercialism.

The many faces of Unleashed show their ugly heads in As Yggdrasil Trembles through various forms of metal. “Courage Today, Victory Tomorrow!” and “Yahweh and the Chosen Ones” are heavier and faster; as much thrash as they are death metal. There is a black metal approach in “Cannibalism Epidemic Continues” which thumps relentlessly between your ears with its dirtier sounding riffs and singer (also bassist) Johnny Hedlund changing his style of deep howls to slurred yells spitting lyrics of doomsdays. The thematic concepts in Unleashed’s lyrics essentially illustrate cultures and religious events of pre-Christianity eras (a prominent theme in most pagan metal bands) also proudly telling of, again, culture and great events from their Viking ancestors.

As Yggdrasil Trembles is another collection of epic myths and fables that satisfies the appetite for metal featuring the four Vikings of Unleashed who attack with six string axes.

unleashed.se

By Brandon Siemens

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SHOOTING GALLERY: Artep & Tyrants Blood

February 4th, 2010 Filed under: Shooting Gallery by Editor in Chief

Find more photos like this on ABORT Magazine/ABORT TV’s Official Online Street Team

After the Vancouver screening of the latest Black Metal documentary to hit the circuit “Until The Light Takes Us“, local promoters Denisixx and Babalon invited Canadian Black Metal overlords Artep and Tyrants Blood to do a special performance after the film at The Rickshaw in Vancouver. ABORT photo editor Scott Alexander was on hand to capture the carnage.

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TONIGHT! January 23rd, 2010, ABORT is Proud To Sponsor The Vancouver Premiere of UNTIL THE LIGHT TAKES US, Doors 8:30pm, The Rickshaw Theatre

January 23rd, 2010 Filed under: ABORT Presents..., News/Calendar/Industry by Editor in Chief

BABALON & DENSIXX ENTERTAINMENT ARE PROUD TO PRESENT…

UNTIL THE LIGHT TAKES US is a feature length documentary chronicling the history, ideology and aesthetic of Norwegian black metal – a musical subculture infamous as much for a series of murders and church arsons as it is for its unique musical and visual aesthetics and extreme ideologies. This is the first film to shed light on a movement that has been shrouded in darkness and rumor and further obscured by inaccurate and shallow depictions. Featuring exclusive interviews and verité with the musicians, a wealth of rare, seldom seen footage from the “Black Circle”s earliest days, Until the Light Takes Us is an intimate exploration of the controversial movement that has captured the attention of the world. The filmmakers spent a couple years in Norway getting to know the key players in the scene, and this is their story.

FEATURING GYLVE NAGELL, VARG VIKERNES, JAN AXEL BLOMBERG, KJETIL HARALDSTAD, OLVE EIKEMO, HARALD NÆVDAL, HARMONY KORINE, BJARNE MELGAARD, KRISTOFFER RYGG, AND BÅRD EITHUN. MUSIC BY BLACK DICE, BOARDS OF CANADA, BURZUM, DARKTHRONE, ENSLAVED, GORGOROTH, LESSER, MAYHEM, MUM, SUNN O))), THORNS, AND ULVER. The film, shot on 35 mm and dv, is directed and produced by Audrey Ewell and Aaron Aites.

JANUARY 23RD
OPENING NIGHT
8:30 PM
WITH BANDS
TYRANTS BLOOD
myspace.com/tyrantsblood
ARTEP
myspace.com/artepmetal

JANUARY 26TH
7:30 Showing

JANUARY 28TH
7:30 FINAL SHOWING

blackmetalmovie.com

Densixx.com

Rickshawtheatre.com

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