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Presenting up to date news, reviews & interviews for riff addicts around the world.
This is 'Liberation through Amplification.'
1).
Dislocated
2). Everlong
3). Suckerpunch
4). Anthem
5). Diagnosis
6). TV Tan
7). The Jackson Whites
8). Let Em Go
9). Vanilla Radio
10). Urge
11). Mazel Tov Cocktail
12). Sick Of Drugs
13). Someone Who Won’t Let Me Go
14). The Revolution Will Be Televised
15). Caffeine Bomb
16). Love U Til I Don’t
17). I Wanna Go Where The People Go
The Review:
This
double live album celebrates The
Wildhearts' 30 year existence in some style. Culled from their 2019
tours, it is an extensive document of a band that really does have... songs.
Great songs. Catchy, riffy, endlessly playable songs.
For
even a casual fan there is so much to enjoy here. Of course, there are a fair
few of the big hits from over two decades ago- “Caffeine Bomb” is here, “I
wanna Go Where The People Go” closes the record- as well as mid period gems
such as “The Revolution Will Be Televised” and later material from “Rennaissance
Men” and so on.
The Wildhearts are a band I
have seen a fair few times over the years; at their own shows, supporting Motorhead, at
festivals, at swanky London venues and in a couple of smaller venues, too. They
are a band I hold in the highest regard, much like Brit noise monsters Raging Speedhorn, they
ventured to parts of Northern England where other bands didn't. I saw them in
1997 at The Cleethorpes Winter Gardens (supported by Doncaster's finest Groop Dogdrill). It was
an incredible gig. Everyone I knew went, as this was an EVENT. There were
hardly any bands that bothered coming to Grimsby/Cleethorpes but Ginger and the
boys did and it was nothing short of incendiary.
I
recall turning up at the venue and seeing Ginger at the stage door at the back.
Tall, tattooed, lean and the first man I had ever seen in real life wearing
leather trousers- that alone marked him in my mind as some kind of alien being,
beamed down to Humberside with a guitar and probably a load of drugs. They were
so good, so life affirming... the very essence of rock and roll. The gig has
stayed with me ever since. Ginger was great onstage, a natural frontman and
raconteur. I remember him praising Groop Dogdrill and wryly remarking: “Keep playing like that
and you'll be headlining this place one day....” Ha and indeed ha.
That
life force is still undimmed. The band and its members have had their ups and
downs over the years; suicide attempts, addiction, loss of limb(!), they've
been through it all and survived. Ginger is, in my view, one of the best
songwriters to have come out of the UK in the last thirty years and his oevre
is on full display here across these sprawling 17 tracks. The sound is big and
brash- the brief given to the producer was “Loud guitars and loud crowd.” That
accurately sums up what you get here- along with insanely beefy drums from
Ritch Battersby.
Simply
put, there is nothing wasted here, no weak tracks and nothing less than the
finest rock and roll band from England since Motorhead. It's a superb live record and one
that reminded me just what a force to be reckoned with The Wildhearts are and
how many great songs they've written over the years. Yes, I'm biased and
forever fated to look favourably on the band- nostalgia will do that to you.
But, as a not so dissimilar band once said; teenage dreams are hard to beat.
It's true: rock and roll of the finest vintage that reaps souls AND saves
lives.
1. Intro
2. Portrait of a Headless Man
3. Martyr
4. Prototype
5. The Pyramid God
6. The Enemy of Truth
7. Communion
8. The Vampire from Nazareth
9. Dogma of Prometheus
10. Lovecraft's Death
11. Dante's Inferno
12. Persepolis
13. A Great Mass of Death
14. Anubis
15. Dark Art
The
Review:
In 2019, Septicfleshembarked on a journey to Mexico for a single
night of symphonic glory.Accompanied by
the Toluca Philharmonic Orchestra, the magical night served as a highlight of
the band's illustrious career. “Infernus Sinfonica MMXIX”
documents that night for all to experience in its full majesty.
Available both on audio in CD and
Vinyl formats and as a full length concert video, Septicfleshgrant access to those outside of the lucky few
in attendance to bear witness to a phenomenal performance by one of the world's
premier Symphonic Death Metal acts. While live albums have historically been a
point of contention within the community of music fans, I believe that this
album does its job in spades of documenting a once in a lifetime experience.
The mix is fantastic, providing both
the band and orchestra ample space to move and breath, creating a wonderful
sonic experience. The performance is as tight as can be expected, serving
listeners with a magnificent collection of performances of the band's greatest
work.With such quality in one place,
this album can be used as a jumping off point for Septicfleshjust as equally as a collection piece for
uberfan.
If available to you, I would have to
recommend the concert video over the audio recording, but only as a preference
of mine. The video recreates the experience in its whole, whereas the audio
falls to the same trappings as many live recordings, with stage banter and hype
work distracting from the audio experience.While audible in the recording, the video also documents the absolutely
spellbound audience, who lend themselves heavily to the performances energy.
All in all the performance is amazing,
and despite my nitpicking, I would recommend either format to both new and
veteran fans alike. Check it out. Experience this once in a lifetime event for
yourself.
1. The Dark Side Of Black
2. A Thousand Years
3. Dark Energy 256
4. The World Is Turning The Wrong
Way
5. Human
6. Together We Can Move The Sun
7. Solar Wind
8. Virus
9. Life Goes On
10. Fight Back
11. Silicon Messiah
12. The Day I Fell To Earth
13. Eagle Spirit
14. Calling You Home
15. Stare At The Sun
16. Man On The Edge
17. Futureal
18. The Clansman
The Review:
Blaze's live offering captures
him and his band, comprising members of Brit metal aces Absolva, at the end of a 59 date
(!) tour at the Melodka venue in Brno, Czech Republic at the tail end of
September 2019. Having seen Blaze around
a month earlier at The Underworld in London,
I knew what to expect from a live document of the show.
To
fully explore the Blaze live
experience, Nathan Harrison, a Blaze
Bayley fanatic, of British doomers The Human Condition and Maiden tribute
band Maiden's Shadow has been asked to weigh in on this weighty release.
The
release takes in a monster eighteen tracks and spans a good portion of Blaze's career.
RM: The overall sound is as
live as it gets (to borrow a phrase!). It's raw and most definitely not
overdubbed or tweaked in the studio. Similar to the “Live in France” release a while
back, this represents exactly what the band and Blaze sound like at a live gig- tight, fast and furious.
NH: As with any Blaze Bayley release (and as should be
expected) the man himself is the main focus here. Anybody who dismissed Blaze’s singing ability during the Maiden
days should give his recent solo releases a go as his voice and range have
improved beyond measure – the man is ostensibly a walking diaphragm, such is
his building-toppling vocal power. The band behind him certainly sounds tight
as always but they don’t quite pack the same punch they do when playing right
in front of you. A slightly beefier sound would have benefitted this release –
Chris Appleton’s guitar sound is quite trebly but the other instruments aren’t
given quite enough bass to compensate. That said, there are moments where the
overall sound simply soars – the more epic tracks were the focus of this tour
and it shows. “The World is Turning the
Wrong Way”, “Together We Can Move
theSun” and “Eagle Spirit”, the stunning closer to
the latest studio release, are particular highlights.
RM: In terms of song
selection, Blaze has a lot to choose
from: Wolfsbane,
two albums with Iron
Maiden and all of his solo full band records - now close to double
figures. Perhaps unsurprisingly, “Live in Czech” focuses on a
selection of tracks from the “Infinite Entanglement” trilogy- with
a bent towards the more epic feeling songs from those three albums. There is a
fair smattering of Maiden classics here as well- “Virus “(appropriate for these times,
sadly) rears its head as do more obvious choices such as “Futureal” and “Man on the
Edge”. There is also the title track and “Stare at the Sun” from the “Silicon Messiah” album. The set
hangs together well and Blaze sings
all songs with total conviction. I personally would like to have heard a track
or two from the superb “The Man Who Would Not Die” record,
but I am splitting hairs. The fact that there is only one guitarist is of
course noticeable on the Maiden material, but so what? Chris Appleton
is a phenomenal player and his virtuosity and energy shine through on every
track.
NH: As the “Infinite
Entanglement” trilogy was the focus of this tour, this leaves little
room for anything unusual or surprising in the rest of the setlist – not that
there’s anything wrong with the other songs showcased here! The vastly
underrated Blaze era of Iron Maiden
is represented brilliantly by the tracks chosen here and Blaze picks some of his most popular earlier solo songs to round
out the set. The problem is that Blaze’s
solo catalogue is so solid that there’s always going to be something missing!
Songs from the aforementioned “The Man Who Would Not Die” and its
incredible follow up, “Promise and Terror” have been
largely absent from Blaze Bayley
shows in the last few years so a return for some of these would have been
welcome. The songs that are here, though, are some the best – “Stare at the Sun” particularly will
always be an incredible song, especially when played live with such gusto by
all concerned.
RM: As anyone who has been
to a Blaze live show knows, Blaze talks to his audience. A lot. He
delivers his song intros in a slow and stilted style- making sure that members
of the audience who do not speak English as a first language (i.e. probably
almost everyone) understands what he is saying. In a live setting it's an
endearing trait. On a live album, it can be a little distracting as it makes
for some lengthy intros and breaks between songs. This is, however, offset by
the fact that this is a live record- representative of the show, not a live
“greatest hits” contract filler. To be fair, the introduction to “Silicon
Messiah” is genuinely interesting as it tells the tale of how the band
in its current form came to be.
NH: For a lot of his time as
a solo artist, Blaze’s general
approach to audience interaction has remained unchanged. While it can
occasionally be a bit repetitive, his sheer love and gratitude for his fans is
undeniably real and he makes it clear just how much he relies on them when he
now self-releases everything he puts out. Blaze
is also a man who has been through some very tough times - personally and
professionally – but has come out of the other side. This determination is
reflected in the encouragement and advice he often gives to his audience and
the sentiment he puts into many of his lyrics. During these rather trying,
scary and altogether depressing and difficult times for many, we could probably
all benefit from being a bit more Blaze Bayley
about it all!
RM: I think this edges out “Live
in France”-
the more epic material goes over really well live and as this was recorded long
after the “Infinite Entanglement” trilogy had been completed the set feels
really cohesive. The sound is also a notch above “Live in France”-
a little clearer, a little more punchy to my ears.
NH: Given its very specific
focus, this is a strange album to compare to previous Blaze live releases with a broader approach. Sound wise, it
certainly edges out “Live in France” but doesn’t quite
have the power of earlier releases “As Live As It Gets” and “The
Night That Would Not Die”. Blaze’s
performance, however, has only got better since these releases and, three
studio and two live releases in, the chemistry between him and Absolva
as his backing band is tangible.
In
conclusion, this is a real live album for fans who witnessed the tour, fans who
have the albums but couldn't make the shows or anyone interested in hearing
what a real professional metal band sounds like. Blaze Bayley is an international treasure of the metal scene and
one who deserves your support. He's out there; year after year, album after
album, tour after tour- relentlessly taking real heavy metal to the masses.
He's a totally independent artist these days, as he states at the start of “The Clansman”, and his passion and
commitment to the faith is unwavering. When the current dystopian world health
crisis is concluded, it's guaranteed that Blaze
will be coming to a venue near you and bringing his best. This live record is
definitive proof that you should go and see him and his band play- after all,
as recent events have proven, you never know when that option might be taken
away.
It’s
always a treat to review a live album, especially when it’s from a band whose
discography is one of the most prolific and iconic of the last two decades.
Preceding the tour edition of their most recent album “I Loved You at Your Darkest”, Behemoth offered a sinister preview of what’s
in store when the full release drops later this month.
Since
their establishment in the early 90s, Behemoth have moulded a caustic blend of Polish
Black Metal, Folk Metal , and Death Metal, pioneering the landscape of
provocative anti-theistic, extreme metal that can chill as much as excite.
“Live at Maida Vale” is a raw and intimate session of live
recordings, featuring a deliberate selection of tracks that best showcase Behemoth's
live musicianship. Delicate acoustic segments intertwine with crashing drum
beats, and thrashing guitars to create a melodic framework often absent in the
Black Metal genre. It’s these types of musical choices, such as using a
children’s choir to decry the injustices perceived by the singer towards God,
that elevate Behemoth
into the pantheon of extreme metal masters.
While
at times a touch quiet in the mix, the haunting choral sections are showcased
beautifully in the context of the live album, and really communicate a primal
passion behind their music, leaving the listener somber, as they draw near the
darkness. These moments of introspection give way to the rapturous cries of
lead singer Nergal, as he scream and growls over the cacophony. It’s a dynamic ebb
and flow of melody and chaos befitting of a live album.
It’s
no surprise then, that the standout track is probably the premier showcase of
this styling. “God = Dog” has found massive success in the genre with the
studio version, and when boiled down to its most basic elements, it breathes
all new life into the song.Featuring a
wide array of musical techniques, “God =
Dog” is powerful arrangement worthy of the accolade.
What
more can be said about a band like Behemoth that hasn’t already been said? They
are one of the best in the industry, and “Live at Mada Vale” is an opportunity
to hear them at their most unfiltered.
“Live
at Maida Vale” is available at all digital platforms
Album Type: Live Album / DVD Date Released: 01/03/2019 Label: Blaze Bayley Recordings
“…twenty storming performances of twenty storming
songs by a band and vocalist who deserve every success”
“Live in
France” CD//DD//DVD track listing:
Disc One
1. Redeemer
2. Are You Here
3. Futureal
4. The First True Sign
5. Silicon Messiah
6. Dawn of the Dead Son
7. Escape Velocity
8. Fight Back
9. Prayers Of Light
10. Virus
Disc Two
1. Independence 2. Immortal One 3. Human 4. Calling You Home 5. Endure And Survive 6. The Angel And The Gambler 7. Man on the Edge 8. A Thousand Years 9. Infinite Entanglement 10. Dark Energy 256
The Review:
Blaze Bayley puts an emphatic
exclamation mark on his superb “Infinite Entanglement” album trilogy
with this double live album- also available as a DVD and various combinations
of one or both formats available.. The twenty tracks here consist of many of
the best of the songs from the IE concept albums, as well as a liberal
smattering of Maiden
classics and the title track from his own “Silicon Messiah” album.
Anyone
who witnessed him on the 2018 tour for “The Redemption of William Black”
will know what to expect from the set list. The recording itself finds Blaze
and the boys at the peak of their powers. “Redeemer”
opens atmospherically to a charged crowd atmosphere. It's straight into “Are You Here” and the band are clearly
very tight and well focused by the prior months of touring.
By
the time that Blaze-era
Maiden
classic “Futureal” bursts out of the
speakers, you will know that you are in for a tour de force live record.
Indeed, with Blaze's
backing band consisting of three members of Absolva the sound is energetic
and the tempos suitably urgent. This live rendition knocks the “Virtual
XI” album version into a neatly cocked hat; it has the energy,
enthusiasm and vibe that much of that album lacked.
You
can hear the crowd in many parts of the record- Blaze getting them involved and
keeping them engaged. This is a lesson in how to work a venue's crowd and how
to make a gig of any size seem like a stadium show. Blaze delivers a very clear
introduction to “The First True Sign”
that is clearly meant to be understood by the French fans and this highlights
how much Blaze
cares about the fans and the crowds- having seen him live a couple of times
over the last few years this absolutely shines through in his stage show; whether
he be playing Grimsby, Manchester or more exotic locations. Not for him the
London elitism of other artists: he and the band give their all at EVERY show.
If
I am being honest, I miss tracks from “The Man Who Would Not Die” not being
included, but the addition of “Silicon
Messiah” almost makes up for it. It's a great song from a great album that
was overlooked on release, due to a certain “classic lineup” reforming and
putting a record out at the same time. Timing is everything, but there we are. From
there we are lucky enough to hear the epic “Dawn of the Dead Son” and the storming “Escape Velocity” from “Endure
and Survive”; as convincing a one-two punch as you will hear. Later in the
set, we also get the title track.
Naturally,
this record being from the tour in support of “The Redemption of William Black”
there are a fair few songs from it: “Fight
Back”, “Prayers of Light”, “Immortal One” and the aforementioned
tracks all feature and showcase just how stiring that record was- quite an
achievement to be firing on all cylinders at the end of a three album cycle.
The songs come thick and fast- no let up from the band for several tracks at a
time and it's clear that Blaze and cohorts are intent on delivering a
strong set list, high on value and low on gimmicks.
At
the mid-point, we get a committed rendition of “Virus” from Blaze'sMaiden days. Truthfully, I never liked the
track much on the “Best of the Beast” compilation, but I appreciate it a lot more
in this setting. In the latter part of the album, Blaze professes his appreciation
of the crowd and his love of being an independent artist. Truly, this
independence suits Blaze as he can do what he wants and follow
his muse. Blaze
gives some heartfelt thanks and some good humour as well in the introduction to
“Independence” and then it's back to serious
headbanging business.
The
latter half of the set is weighted more towards the first record in the “Infinite
Entanglement” trilogy and is thus a little more up beat than the first
half. This keeps the energy levels up and gives the impression of the band
going from strength to strength- no coasting towards encores here! It's a
pleasure to hear such tracks as “Human
“and “A Thousand Years” (both
classics, IMO).
There
is also a real curio for fans in the shape of a re-worked version of “The
Angel and The Gambler”. The track was much maligned when first
released; the endlessly repeating chorus, the parping synth, the hard rock
styling... However, I have always quite liked it. Sure, it's over long on “Virtual
XI” and synths are an acquired taste, but delivered straight as a
grooving hard rock track with audience participation and no synths it WORKS!
It's like a step child to AC/DC with Blaze really giving it some
vocally. Martin McNee puts in a solid drum solo amidst some serious (dual)
guitar pyrotechnics with Luke Appleton of Iced Earth and Absolva joining as a guest.
Now,
if you want an unarguable Maiden classic, “Man on the Edge” is here for you. Fast as a shark and twice a
deadly this is one of Blaze's and perhaps even Maiden's best. The last three
tracks take in “A Thousand Years”
(power metal heaven!), the trilogy's title track and “Dark Energy 256”.
Blaze's
appreciation of the crowd is sincere and made very clear. The in-between song
banter pushes some of the song lengths- and is at the start of tracks instead
of at the end, so cannot be skipped... but isn't that what a live album is
suppose to be?! It is an accurate representation of the shows from this tour
and captures the band on ferocious form.
If
you ever thought about seeing Blaze but decided against it, get down to the
next tour in 2019. You are guaranteed a fully committed performance of many,
many classic songs- for a very reasonable price, I might add. There is nothing
to not like here: twenty storming performances of twenty storming songs by a
band and vocalist who deserve every success. Blaze is out there, fighting the
good fight and living his dream. If you buy this album or buy a ticket to a
show you help him to keep doing just that and you'll enrich your own life in
the process. A fair exchange.
Overkill are now fully established as the Motorhead of thrash: a lean mean killing machine that defies age
and just keeps on delivering the goods while upping the ante each time.
“Live in Overhausen” 2CD//DVD//DD//2LP track listing:
1.
Coma
2.
Infectious
3.
Blood Money
4.
Thanx For Nothin'
5.
Bare Bones
6.
Horrorscope
7.
New Machine
8.
Frankenstein
9.
Live Young Die Free
10.
Nice Day - for a Funeral
11.
Soulitude
12.
Raise The Dead
13.
Rotten To The Core
14.
There's No Tomorrow
15.
Second Son
16.
Hammerhead
17.
Feel The Fire
18.
Blood and Iron
19.
Kill at Command
20.
Overkill
21.
Fuck You
The Review:
Overkill return
with a double live album after last year's excellent studio effort, “The Grinding Wheel”. Instead of a career
spanning greatest hits set, or even a compendium of track's from their last
four stellar albums the band have gone for something a little different.
Indeed, New Jersey’s finest have opted to re-visit their “Horrorscope” and “Feel The
Fire” albums. In full. In track list order. Oddly, the set starts with the
chronologically later album, “Horrorscope”.
So, you
get 21 tracks over either two CDs (plus DVD or Blu Ray) OR you can fork out for
two double LP sets; one for each album. I have opted for the CD and DVD this
time around as I simply can't justify buying that and two double LP sets- that
really is a big ask, even for a dedicated fan.
This
review only focuses on the audio part of the release: it is superb. In fact,
this is easily the best Overkill live album. “Wrecking Your Neck” suffered a little
from a flat sound, whilst “Wrecking
Everything” was an improvement, it still did not capture the full intensity
of the band. This time around the band has nailed it. This is one intense
performance with the band firing on all cylinders and ably assisted by guest
drummer Eddie Garcia of Pissing Razors.
I saw
one of the shows on this tour and the band were on fine form, and clearly
building up to this performance in Germany. The sound is excellent; full and
clear with 1500 German maniacs ably assisting the band by rowdily cheering
along and chanting the band's name between songs. The material form “Horrorscope” sounds fantastic with the
beefed up modern production and the songs shine. The band retained their
punk-ish edge even through the more complex and dark material on offer here and
it is still regarded as one of their best, over a quarter of a century later.
The
real draw for me, though, is the performance of the “Feel The Fire” album. It stands shoulder to shoulder with “Kill Em All”, “Shown No Mercy”, “Fistful of
Metal”, “Bonded By Blood”, “The Legacy” and “Killing is My Business...” for me- and I prefer it to nearly all
the records on that list! Overkill's debut was
and is a thing of marauding beauty- matching Maiden-esque
guitar runs with thrash speed and punk like aggression. To hear the band
sounding so vital and revved up on this thirty-something year old material is a
treat. “Rotten To The Core” is
superb, the extended middle section of the title track (Higher... Higher...
Feel The Fire!!!) is as dramatic as it is spine tingling. Metal perfection! The
run of great tracks on the album is astonishing; “Hammerhead”, “Blood and Iron”,
“Kill at Command...” thrash metal
does not get any better.
The CD/DVD
is actually pretty good value- you get two full albums live and a DVD for your
money: not bad! As stated before, forking out for both vinyl sets is pretty steep,
but if you love one album and are not too bothered about the other, you can
choose. I'll pick up the “Feel The Fire”
set when I have the cash. Ah, who am I kidding, I'll get the “Horrorscope” one as well!
Overkill are
now fully established as the Motorhead of
thrash: a lean mean killing machine that
defies age and just keeps on delivering the goods while upping the ante each
time. Compare their recent output to any of the other big thrash names. Overkill are streets ahead in intensity, hunger, material
and work ethic. This expansive live release may well test your wallet, but the
band passes the thrash exam with flying colours.
The
group's performances are frenzied, the production is sterling and with a
crystal clear sound thoughout, this makes “Messe Noire” a real pleasure to
experience
“Messe Noise”
CD//DD//2LP track listing:
1.
Blow Your Trumpets Gabriel (6:33)
2.
Furor Divinus (3:21)
3.
Messe Noire (4:41)
4.
Ora Pro Nobis Lucifer (6:20)
5.
Amen (3:54)
6.
The Satanist (6:35)
7.
Ben Sahar (5:32)
8.
In The Absence Ov Light (4:54)
9.
O Father O Satan O Sun! (8:45)
The Review:
Now
playing dates as part of Slayer's farewell tour,
Poland's Behemoth could well be argued to be the heir
apparent to the thrash kings' crown. While clearly the music is different, Behemoth's infernal songsmithing makes it a better fit than
most. Paired with a long, ignoble history and you have a strong case to be
made.
Although
Behemoth has many touchstone albums to its credit, its
tenth release, 2014's “The Satanist”,
is easily near the top of its discography. It is the release from whence
classics like "Blow Your Trumpets
Gabriel" and "O Father, O
Satan, O Sun" came. Moreover it was regarded by critics as a return to
form after potentially uneven works just before. Behemoth's
new album, “Messe Noire”, is, in
fact, a live concert recording of “The
Satanist” in full.
If
you have never caught Behemoth live, do
yourself a favor and watch some of the concerts – especially those in its
native land – on YouTube. The group's frenzied performances are only matched by
their enthusiastic audiences. “Messe
Noire” captures Behemoth exceptionally
well, even without the visuals.
From
"Gabriel," the album's
open, into the buzzsaw guitars of "Furor
Divinus" and the title track, it is evident Behemoth
is all in on the live aspect. The additional singers, symphonic elements and
builds presented on “The Satanist”
are replicated live and do not lose much luster on the audio version ("Messe Noire" has also been
released on video format).
Since
1995's "Sventevith (Storming Near
the Baltic),"Behemoth has cultivated
a rabid fan base, one enthralled by its colorful imagery and history as well as
its sound. Indeed, as the band's focal point, Adam "Nergal" Darski
has a connection to these supporters that is uncommon even within metal. From
his health difficulties – including a brief hiatus due to leukemia – and
outspoken advocacy of Satanism, Nergal's intensely personal story is hewn from
the cloth from which all the great rock music histories are cut. Where some
bands prefer complete anonymity, Behemoth and Nergal's
openness has proven the old maxim: people want something with which they can
identify. You feel identification through "Messe
Noire." The live version of "Ora
Pro Nobis Lucifer" has such weight, as you hear the crowd toward its
close on into "Amen."
The
production on "Messe Noire"
is sterling throughout. The sound quality is crystal clear and the audience
noise never overwhelms the stage show. This makes songs like "The Satanist" and "O Father" a real pleasure to
experience. Chances are, Behemoth fans have already picked up this April release.
However, if you're a metal devotee who has dug Behemoth
for any length of time, you'll be well served to pick up "Messe Noire" in its audio or video formats.
