Updated: Jun 18, 2020

Via Metalsetlists : "I arrived in time to catch the two last songs of local melodic black metal openers Obscurcis Romancia. They were ok, I guess. Their style is pretty generic, with tons of

galloping riffs, they had tightness problems and they were totally static on stage. I

won't say they sucked, because they''re not an awful band, but they just had nothing

special.


Next was the band I consider to play the best death metal in Quebec since Gorguts

and Cryptopsy. All three of their albums are crushing, dark and brutal masterpieces

that take your mind on a horrific psychological trip. Sadly, this was their last show

until a very long time. The band is releasing a new EP and a re-recorded version of

the first record, Karma, and going on an indefinite hiatus after that. This was my first

(and maybe last) time seeing them with the new line-up, featuring Phil from First

Fragment/Chthe'ilist on guitar, and it totally did justice to the albums. Emmanuel's

vocals were majestically tortured and furious, and the instruments would drown you

in low frequency mud. The sound was great, and it made their performance even

more hypnotizing. For Delirium and Cleansing, they brought their ex-bassist on

stage, and for "Nightmare" and "Transcending, they brought their ex-vocalist (the

one who sang on the records). The dual vocal attack took their performance to

another level of brutality, if that's even possible. The best moment was the closing

with the first half of their 21-minutes classic off The Omnipresent Curse (Tempted

was also only played until the half of the song). I'm going to miss these guys. Please

do me a favor and check them out. 


The last local opener was Unhuman, featuring Youri Raymond (ex-Cryptopsy) on

guitar and vocals and Kevin Chartré (from Beyond Creation) on lead guitar. What's

funny is that the band has existed for more than 15 year and still has not released

one single album, even if they have about 3 full albums ready to be released. They

play a mix of many genres: technical death metal, mathcore, jazz, punk rock, power

metal, etc. This, added to the wierd insect/alien vocals by Youri, builds into a very

wierd whole. They a great performance, which must have been pretty mindblowing

for non-initiates. Though, I always thought that their songs were uneven: a lot of

them sound like they lack purpose or direction. Also, Youri uses his unique inhaled

vocal technique way to often. It's cool and innovative, but sometimes it breaks the

intensity of the songs. Anyway, these guys are extremely skilled musicians, and the

three last songs they played were splendid. 


After that, it was the moment. Anaal Nathrakh's first canadian show, and the first

date of their first american tour ever. Many metalheads in Montreal had waited years

for this, myself included. I couldn't believe it was finally happening. An intro, that

was actually a mix of the ones to In the Constellation of the Black

Widow and Domine Non Es Dignus, played from the PA and they immediately bursted

into the title track of their 2009 album. It sounded like fucking armaggeddon;

nothing less. I can't remember seeing a live band that sounded more raw and


aggressive than them. Their live drummer is a fucking killing machine, and Dave's

shrieks and growls, consolidated by Drunk's (their live bassist - the guy from Fukpig)

depraved yelling and screaming, were ear shredding. The heavily distorted guitar

and bass tones also ripped faces. The crowd was not asking for anything more and

responded very positively to the assault: the pits were violent. Since the show was

far from being sold out, people had space to move, which made the pits even

rougher. Most of the times, the Fouf's floor ressembled an apocalyptic war zone.

There was nowhere to rest: you were attacked by people from every side, especially

from the stage. The band, Mick Kenny and the filling guitarist in particular, seemed

to have the times of their lives, always headbanging and jumping with a constant

smile on their faces, singing the lyrics with the few fans who knew them (I know,

this was actually some pretty awful self-indulgence, but deal with it ). Dave looked

just like what he had to be: pissed off. He actually looked like he meant every

scream. His incessant talking was also funny. At some point, he asked what we

tought about Obama's election and one of my anarchist friends yelled "Who gives a

fuck?". Bad idea - he suffered V.I.T.R.I.O.L.'s wrath.  Dave's banter was a bit

lengthy and it reduced the set's intensity, but it was still funny. Some highlights were

his rants about bands that do fake encores (the 3 last songs were their non-encore 

) and the introduction to "Of Fire, and Fucking Pigs", which was something like

that: "Pigs is an old saying for the human race, that's how we used to call them -

long pigs - and fire, well, that's the way I like to think about pigs and humans."

Indeed, this song is about bacon. However, although it was entertaining, he should

have talked a bit less and played a few more songs. In fact, their setlist somewhat

short (only twelve 3-4 minutes songs) and disappointing. Where the fuck were "Do

Not Speak" and "Pandemonic Hyperblast"? I just think that my expectations were unachievable. I thought that it would be the best show of my entire life, but the

briefness of the set spoiled it a little. Still, I wanted to see Anaal Nathrakh, and I've

seen Anaal Nathrakh - I'm happy. Also, the set didn't only have flaws: the new

songs, above all & "Forging Towards the Sunset" sounded great live and "When Fire

Rains Down from the Sky..." was one of the best things I've ever heard a band play.

A memorable show."





Originally written by Pascal Rivard for metalsetlists.com

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Updated: Jun 18, 2020

Via DailyRock : "Lors d’un mercredi soir à Montréal, un groupe venu d’Angleterre faisait son entrée en Amérique du Nord et une lignée de groupes locaux très prometteurs s’annonçaient pour introduire la première soirée de la tournée d’Anaal Nathrakh. Les Foufounes Électriques étaient les hôtes de cette soirée, facilement accessible puisque c’est au centre-ville, c’est chose courante de retrouver des spectacles locaux et de venues dans cette salle déjà bien connue et couramment fréquentée par les partisans de musique métal. L’ambiance y est agréable lors d’un tel évènement.


L’ouverture du spectacle est offerte par Obscurcis Romancia. Nous avons affaire ici à du matériel caractérisé. Ce que j’ai apprécié du groupe faisant la première partie, c’est le fait qu’ils ont un joueur de clavier, ce qui apporte une dimension de plus, car les autres n’en avaient pas. On retrouve auprès d’Obscurcis Romancia une belle mixture musicale, qui contient un côté dramatique, des moments plus calmes et profonds, et bien entendu, une férocité mélodieuse comme on l’aime. Une performance digne d’une bonne ouverture de spectacle.


Par la suite, une prestation des plus intéressantes de la soirée sera livrée par Vengeful. Aussitôt que les musiciens ont commencé à performer, je fus interpellé par la musique. Une longue introduction nous montrait l’identité de ce groupe, une thématique plutôt sombre et ambiante, à caractère brutal. Cela créé un effet très intéressant que de bâtir longuement une tension, et qu’ensuite le côté plus condensé fasse son apparition. Ça prépare le public et ça donne plus d’ampleur au matériel du groupe. Ce fut spécial pour moi de voir Philippe Tougas (également du groupe First Fragment, Chthe’ilist et plusieurs autres) dans cet élément, car je suis plus habitué à le voir performer dans des sonorités néo-classiques à tempo très rapide, je fais ici référence à First Fragment. Vengeful est sans aucun doute un groupe innovateur qui se démarque très bien du lot. Un death metal atmosphérique qui nous livre une ambiance hypnotique dans une enveloppe brutale.


Les prochains à performer sont Unhuman. Ce groupe nous rentre dedans de plein fouet dès le premier son. Ce que j’aime de Unhuman, c’est qu’ils  diffusent un message engagé à travers un son des plus radicaux. J’aime aussi le fait qu’ils ne sont pas un groupe qui se collent à une seule sonorité et qui tentent de la perpétuer, mais lorsqu’ils exploitent un son particulier, ils l’expriment vraiment à fond, d’autant plus qu’ils s’y adonnent avec plusieurs sonorités distinguées. Par exemple, on peut parfois sentir une immense joie exprimée à travers leurs mélodies, sans pour autant s’éloigner du contexte très radical et technique que dégage Unhuman. Un groupe qui est à couper le souffle sur scène, mais qui se prend avec le sourire fendu jusqu’aux oreilles, des musiciens dont on peut sentir de manière évidente l’expérience et le professionnalisme, sans pour autant avoir l’air crispés, mais plutôt bien qu’ils s’amusent. Les bombardements de cymbales d’Alex Dupras, les figures démentes à deux mains de Mathieu Bérubé sur son manche de basse à 7 cordes, les solos débordants de technique et d’expression de Kevin Chartré, et le dernier, mais non le moindre, Youri avec ses rythmes de guitare et ses voix inhumaines, sont des éléments qui font qu’on ne sait parfois pas ou mettre les yeux pendant une prestation d’Unhuman (ou plutôt qu’on voudrait les mettre partout en même temps!)


Finalement, le groupe en tête d’affiche prend place sur la scène ; Anaal Nathrakh. Ce groupe britannique nous offre une combinaison intéressante de Grindcore, Black et Death Metal. C’est intéressant de retrouver la puissance du death metal combiné a la sonorité sombre du black metal et un registre de voix poussé jusqu’au grindcore. C’est rapide, agressif et expressif. Les refrains comportent parfois des arrangements de voix claires accompagnées de voix déchirantes, ce qui donne un effet à la fois profond et féroce. Un produit polyvalent et drastique qui résulte en un excellent spectacle qui vient clore en beauté une soirée musicalement enrichissante."


Originally Written by Francis LaBadie for DailyRock.ca




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Updated: Jun 18, 2020

Via That's How Kids Die : "Chthe’ilist are a duo hailing from Quebec, but judging from their tongue-twisting moniker and the equally challenging title of their debut demo on Graceless Recordings, Amechth’ntaas’m’rriachth, it’s entirely possible that they only claimed Canadian residency after rising from the slimy vaults of Lovecraft’s sunken city of R’lyeh. Of course, one cannot judge a band by name alone, and the otherworldly sounds emanating from this tape only serve to further my theory that they are the death metal servants of Cthulhu. On Amechth’ntaas’m’rriachth, Chthe’ilist crank out old school DM that recalls the extra-dimensional filth of Demilich; it’s drenched in grit ‘n’ grime aplenty, but not at the expense of clarity.  Each and every one of guitarist/vocalist Pat Tougas’ avalanche of riffs is easily discernible amidst the miasmal production scheme, and it is those riffs that dominate the mix while drummer Philippe Boucher pushes the shambling beast ever forward through the pitch-black distortion field.  The guitar tone is absolutely hideous in the best way possible, blunt and crushing, yet sharp enough to accentuate Tougas’ craftsmanship.


The vocals are the gruesome gurgling of an elder thing, retched up from the bowels of the abyss, adding yet another layer of unearthly atmosphere to the proceedings. Surprisingly, some clean vocals do claw their way up out of the muck, the only remotely human-sounding element to be found anywhere within the suffocating confines of Amechth’ntaas’m’rriachth.  Without printed lyrics and given the fact that the song titles are just as impenetrable as the band’s name, it’s difficult to say what exactly Chthe’ilist are singing about, but the vibes of unspeakable cosmic horror are nonetheless palpable.


Several bands of late have impressed me with cassette releases, but Chthe’ilist stand out from the pack with their decidedly demented take on death metal; let’s face it, you don’t hear too many bands sporting a Demilich influence, let alone one that uses that as a mere jump-off point and weaves their own personal riff-maze of torment.  The Great Old Ones are pleased."



Originally written by https://thatshowkidsdie.wordpress.com/


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