Musical Digest: Pallor Mortis, Mutank and Rhino
There seems to be a river of metal news flowing from Montréal this week. Pallor Mortis, an old school death metal band, was circulating their lyric video for “Crimson Blade of Assyria, the first excerpt of their album The Art of Terror that will be released later this month. The least we can say is that it’s bloody violent: while the production is not quite as ‘meaty’ as the big names of the genre, it certainly delivers an awesome carnage. Guitars and drums are seemingly having fun, riff after riff after riff, walking heavily up and down the scale. The fat-free drums is placed at the very centre of the mix, and blasts like a machine. Topped with very low pitch and Suffocation-like indecipherable vocals, this song from Pallor Mortis has all qualities to provoke concussions in the mosh pit on April 21, as the band will open for no other than Nile in the metropolis.
Montréal’s Mutank is presenting “The Heavy Hand of the Doomsday Clock”, a video for their recent album M.E.C.H. Metal (which stands for Middle East Coast Heavy Metal). Originating from Newfoundland and Middle East, the guys from Mutank remind us that metal has no boundaries. As displayed on this new video, Mutank surfs on the purest tradition of thrash metal from the early 1990′s, a time when crossover bands such as D.R.I. and Sacred Reich were held in high regard.
If you like what you hear, you should also dig the other seven short songs on the album: http://mutankthrash.bandcamp.com/
Talking about new music from Montreal, post-hardcore band Rhino has unleashed a few months ago “Sandy Millstone”, a single that had a strong impact on me with its eigth minute length. The band was opening for The Atlas Moth and The Ocean this week in Montreal, a show I had the chance to attend. Without a doubt, Rhino doesn’t get easily intimidated. With a collection of effects pedals, both guitarists know just how to design an atmosphere as textured and as colorful as Benjamin Moore. The minimalist canvas follows closely the steps of Cult of Luna, Mouth of the Architect, and hundreds of other clones of post-whatever style. Nonetheless, what Rhino does, Rhino does it with great economy: the musicians seem to have eliminated all useless parts in their songs, focussing only on the rich and captivating moments. The drum is very low tuned (with minimal bounces), which provides a complementary niche for the bass guitar (a warm tone Gibson, if I’ve seen correctly). In other words, it seems that Rhino took its time to find the right sound, avoiding confusion in the ‘wall of sound’ type of mix.
Hear for yourself: http://rhinoloud.bandcamp.com/track/sandy-millstone
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