Author: Jake Beacock

Categories
Concert Reviews Music

HEAD: Concert Review: Static-X with Dope, Mushroomhead, Fear Factory and Cultus Black at MTELUS

Static-X performing at MTELUS

 Nu metal is so back. 

Static-X are back on the road again, celebrating the 20th anniversary of their album Machine. The California group, formed in 1994, is accompanied by a stacked lineup composed of Dope, Mushroomhead, Fear Factory and Cultus Black. It’s just a big old happy nu metal family reunion! 

On the night of March 23, MTELUS was packed with nu-metallers, a sea of Korn hoodies and Static-X t-shirts pouring out the doors and onto the street. It’s been a while since a show like this happened, a show akin to the notorious Family Values Tours of the ’90s. I wasn’t surprised at the turnout, especially considering the show had to switch venues because of popular demand and capacity. Oh man, there are a lot of nu-metallers in Montreal. For once I’m not the only one!

Cultus Black opened the night, proclaiming to be “new around here.” For a new act, their set was really impressive, and I wished I’d been in the crowd to conjure up some more hype for them. Sometimes a crowd just won’t move during an opening band’s set and it absolutely sucks to watch. The band, however, did not disappoint. Their cover of “Negative Creep” by Nirvana was such a pleasant surprise. 

Dope, boasting their new album Blood Money Part Zer0, jumped right into their set without wasting much time. I was just as excited to see them as I was for Static-X, thrilled to finally get to hear the song “Die MF Die” live. I think their set was my favourite besides the headliner. 

Now, I’d never really gotten into Mushroomhead despite their steez in nu-metal circles, but they were great to see live. No need to rehash old Slipknot vs. Mushroomhead fan wars. Their stage presence is incredible, I really wish MTELUS’ stage was big enough for a band of that size and magnitude. They had quite the handful of set decorations and it just looked so cramped together. 

Fear Factory marked their return to the stage on this tour since their vocalist change in 2020. I was pretty pumped to see them back in action, and even more pumped to see them play “Zero Signal” off the Mortal Kombat soundtrack. 

Finally, Static-X dominated the stage with classics like “Push It”, “Cannibal”, “Wisconsin Death Trip”, and my personal favourite, “I’m With Stupid”. Towards the end of their set, they took a minute to dedicate “Cold” to Wayne Static, the original Static-X frontman who passed away in 2014. 

Overall the show was a blast, and I think the crowd was probably the only downside for the most part (not really the moving and shaking type, eh?). Yet another piece of nu-metal history in the making, this show couldn’t have come at a better time because… face it, nu-metal is so back.

Categories
Concert Reviews Music

 Concert Review: Cindy Lee at Les Foufounes Électriques

Cindy Lee playing at Les Foufounes Électriques. Picture taken by Jake Beacock

Making their awaited return to Montreal, the enthralling Cindy Lee takes the stage at Les Foufounes Électriques

Dreamy, movie-tragic and esoteric, Cindy Lee is the dazzling drag persona of Canadian musician Patrick Flegel, best known for their work as the lead singer and guitarist of the band Women. Creating atmospheric “confrontation pop”,  Lee sings delicately like a vintage starlet over glimmering guitar riffs and static, encapsulating themes of mystifying melancholy and romance. 

Their March 18 show at Les Foufounes Électriques was opened by Montreal band Born Winner, a duo laying down puffy, funky basslines and classic guitar over an ’80s mall pop vibe. Their work suggests a grunge persuasion, resulting in a great live set for spending any extra energy on dancing. Knowing Cindy Lee’s set would be one of a more mellow, lightweight tone, I absolutely danced my heart out to “average boy” and “too cool for school.” 

On-time and dressed in a white fur-trimmed coat with shiny gogo boots to match, Cindy Lee quietly graced the stage, politely waving and gently acknowledging the crowd of eager spirits. Only mere centimeters away from me, Lee set their own equipment up briefly before easing into their first song. Falling into the embrace of the ethereal tunes, I couldn’t help but close my eyes and sway to the rhythm until Lee smoothly interjected with a tastefully improvised guitar solo.

Lee danced around the stage in a glistening gold dress, bundles of baby’s breath in hand, to the weeping guitar in “I Don’t Want To Fall In Love Again.” The sweet song of distant longing and lost love rang through the venue. Between politely sheepish “thank you kindly”s, they strolled through the set of primarily unreleased and hidden tracks. It was difficult even for me, as a huge fan of their work, to discern which songs were being played! Though I’ll admit, it really adds to the elusiveness of Cindy Lee as both a persona and a project.

I had the privilege of meeting Cindy Lee themself, up close. When their gogo boots were not inches from my hands on stage, they were an incredibly kind and approachable person to speak to. Friends I had attended the show with were keen on telling them how we purchased their album, Cat O’ Nine Tails, which is unavailable on streaming platforms. Their response was somewhere along the lines of “Great! I’m going on strike!” which means we are in for another mystery upon Flegel’s next release as Cindy Lee. I will simply wait patiently until then, and I hope you will too. 

Categories
Music Quickspins

QUICKSPINS: Slipknot – The End, So Far

With the resurgence of nu-metal on the horizon, there is truly no better time for a Slipknot comeback!

Released Sept. 30, Slipknot’s The End, So Far is a full-bodied, experimental, nostalgic album that has had many fans thrown for a loop. Formed in 1995, Slipknot burst onto the scene hailing from Des Moines, Iowa with their 1999 debut album, Slipknot. Arguably one of the most influential pioneer nu-metal bands on the scene, the nine-man powerhouse always finds a way to innovatively impress their audience (affectionately called ‘maggots’).

In a recent interview for NME, lead singer Corey Taylor stated that the album is “more about relating to people and less about purging again,” referring to the creation of their 2019 album, We Are Not Your Kind, which he described as a “purge.” Taylor cited this change in tone as the reason for the variety found throughout The End, So Far. 

The beauty of their latest album can be found in its impressive balance of new experiments and old influences. Slipknot pushes the boundaries of what “heavy” can imply in music, having clearly prioritized a more melodic approach to most of the tracks (namely the opening track, “Adderall,” “The Dying Song (Time to Sing),” “Hive Mind,” “De Sade,” and “Finale.” 

Despite these melodic elements, Slipknot still manages to maintain their classic, ruthless metal sound, drawing influence from their third studio album, Vol. 3: (The Subliminal Verses).

Slipknot have effectively innovated metal even prior to their debut, and it’s clear they don’t plan on stopping anytime soon. Despite death, despair and disease, the nine have always prevailed as a band. This album most definitely serves as proof. 

Though The End, So Far proves itself to be solid from start to finish, there are still some tracks that are stronger than others. The opening track, “Adderall,” smoothly eases listeners into the album with psychedelic undertones while simultaneously subverting any preconceived notions of what Slipknot are about. Tracks like “The Chapeltown Rag” and “Finale” push the boundaries of metal, setting a new precedent for what metal can explore, both in sound and subject matter. 

Going into this album, I expected to be more drawn to the heavier songs, however I was more enthralled by the ones with slow, entrancing intros and a show of vocal versatility from Taylor (specifically track four, “Yen,” and track 11, “De Sade.”) 

This album grew on me very fast. With every listen I would find hidden gems in tracks that I’d previously dismissed. For a band that has been active for 27 years, I’d say they’re still going strong. There is definitely something for everybody in The End, So Far. 

From psychedelically atmospheric intros and experimental steps to their familiar, vicious metal sequences and intense lyricism, the versatility of The End, So Far is sure to please those who are willing to embrace it. 

Though some fans may find Slipknot’s subversive efforts to be out of character, I think that’s the point. I think fans will soon find it in themselves to embrace these new changes, changes that could arguably be considered advancements. 

The world of Slipknot continues to expand and astonish, an unsurprising feat for a group with such a prominent presence.

There are some tracks that feel a bit unfinished or underproduced, but overall I did really love The End, So Far. With their departure from Roadrunner Records, I hope Slipknot continue to surprise us with their work. 

Trial track: “The Chapeltown Rag” 

Rating: 7/10

Categories
Music

Concert Review: Mayhem at Club Soda, Montreal

Metal band Mayhem performing at Club Soda in Montreal on March 22nd

Metal band Mayhem performing at Club Soda in Montreal on March 22nd

Take a walk on the dark side, Norwegian black metal band Mayhem has returned to Montreal

Saint Laurent Boulevard is home to the Club Soda, a marvelous venue with a capacity of up to 975 standing guests. Their large capacity was suitable for a black metal show of Mayhem’s caliber.

In the lobby, the doors to the dance floor were rattling with the powerful sound of heavy guitars, a bone-rattling kick drum and the grueling growls of Midnight, the opening act. Their sound was incredibly powerful, though not as fast-paced as the headliner that would proceed them. Midnight’s vocals were clear and severe, backed up by wailing guitars as they sang of sin, darkness and death. Their fiery sound successfully provoked the crowd, preparing them for what was to come. 

After spending Midnight’s set in the mosh pit, the silence set in as the crowd waited for Mayhem’s arrival. The band was timely, creeping onto the stage through red light and clouds of fog. Feeling like I had entered the dark dungeon of a secret society, I watched as the lights slowly grew brighter. 

Opening with “Falsified and Hated,” Mayhem was met with screams from the crowd. A rush of harsh guitar and ghoulish rasping kicked the show off, with a quick flash of blue light revealing the lead singer, Attila Csihar. He was dressed in many layers, with a tattered cloak on top. His face was covered in blood and corpse paint, and in his hands he held a cross made of bones.

The band would eventually swap out their battle jackets for black ritualistic cloaks, with Csihar donning pope-esque garb, upholding the theme of a high satanic priest preaching to his devilish children. The stage would appear to be the inside of a cathedral. Eventually, Csihar would be seen swinging a noose around, whispering into the microphone over an ominous beat like a vengeful spirit.

During the band’s most notable song, “Freezing Moon,” the crowd rushed to the front of the stage and the mosh pit erupted with crowd-surfers, creating pushing and shoving galore. The pulsing lull midway through the song provided a smooth transition from the first verse’s fast pace to the sound of a more soothing embrace of death. 

The most vicious mosh pit that night by far would be during “Chainsaw Gutsfuck.” People were headbanging left and right. The thunderous hum of raspy guitar and bass accompanied melodic shrieks and the beating of a vicious kick drum. Several men were shirtless, sweating and panting as they sought out their next shove from a fellow fan.

The show came to a close surprisingly early at around 11:00 p.m. The band members kindly threw picks and grasped hands with fans on their way off the stage. Overall, it was a beautifully dark, thrilling experience!

There was such a strong sense of spirit in the room through it all and it was an unforgettable night. To all metalheads of Montreal, if you haven’t had a taste of black metal yet, I’d recommend dipping your toes in by listening to a song or even attending a show (especially if you’re looking to mosh and headbang insanely hard).

 

Photo by Jake Beacock

Exit mobile version