To read our review of Unwanted Noise‘s latest album, it’s right here.

Let’s start by talking about your recent appearance on the 123 Punk Tour. You were the only band from the underground scene on the lineup. What was that experience like for you, and what does it mean to you?

The band members are between 26 and 41 years old, but we all grew up watching Musique Plus, in different eras. Being part of the tour means a lot to us, but being the only street punk band on the lineup was truly an honor.

The band formed in 2008 and started playing shows in 2011. After some lineup changes, you released Last Of Our Kind in April 2016. Since then, you’ve been putting out new material roughly every two years. Do you think that’s necessary in order to stay relevant?

Yes, definitely. We feel that nowadays, it’s becoming increasingly important to release fewer songs at a time and shorten the gap between releases. We’re in a period where music is consumed at an excessive rate, and you constantly have to keep fans engaged in order to remain relevant in the scene.

May 2024, Bury Me to the South Shore is released. Feedback has been positive from the very beginning. Is it stressful to release an album like this, especially considering that this one had been anticipated for quite some time?

We’d say yes. It was the first album created with Guillaume et Gab on guitars, so we knew we were going to have a completely different sound than before.

It’s definitely stressful when we change our sound. Will our fanbase, who’s been following the band ever since the beginning, remain engaged? Will the album still sell? Or will it put the label’s investments in a difficult spot because no one is buying it?

Let’s also remember the long delay between the announcement and the release itself. We were convinced we were going to fly under the radar… but our fanbase showed up and sold out the first 300 copies in no time!

How do you create new songs? Who writes the lyrics, who comes up with the songs?

Typically, Guillaume or Zach come to the jam sessions with riffs, and the rest of the instrumental is built collectively as a band. The vocals are written separately by the singer, Nick. He usually brings one or two songs that he creates later in the process, which helps enrich the album, being a bit different from our usual patterns.

Street punk is often heavily based on anthemic, sing-along choruses. Yet in your case, there’s also a more chaotic and abrasive side. Are you consciously trying to avoid the cliché « gang chant » approach?

It all depends on the inspiration at the time we create a song. In Unwanted Noise‘s early days, bands like The Oi!Scouts, Copyright Chaos, Casualties and Chaos Drunk Punx all heavily influenced our first songs with their often repetitive gang vocals. Our sound has evolved over the years alongside our musical tastes, becoming catchier and more effective, aiming to have the entire crowd sing along with us live. There’s nothing that fuels us more than a crowd singing along with us!

In a scene where many bands disappear after one or two EPs after quickly blowing up, what has kept Unwanted Noise going strong?

Communication, respect, recognition, and empathy are core values within the band. On top of that, life is boring – we just found playing music to be the best way to have fun.

Your music often conveys social fatigue, a sense of weariness. Is playing punk in 2026 still a way of resisting to something, or has it become more of a way to mentally survive?

A bit of both. We’ve been talking a lot, and for a long time now, about things such as alcoholism, depression, suicide, and the feeling of disillusionment with the modern punk scene. Playing and writing this kind of material allows us not only to externalize these topics, but also to connect with others, who might be going through the same experiences.

With social platforms being more and more popular, and image-driven culture rising, do you find that punk becomes overproduced or overly polished these days?

Overly polished, not really. We often notice that a lot of bands focus more on the music than their looks. We’re far from the early 2000s Punkcore Records era, with bands that were overly styled – almost like boys bands – and playing « ok » songs.

We feel lucky to be part of the current scene in Québec, with so many talented bands that also go all-in on their look.

Split releases have always had an important place in the underground punk scene. What do you like about that format, as opposed to a traditional full-length album?

You double the fanbase with a split, but it also allows a direct connection with bands from different scenes.

After so many years, what still drives you to get in a van, sleep wherever you can, and do it all over again? What is the secret to this ongoing motivation about this lifestyle?

The family we’ve created. Meeting people from multiple scenes and cities. Being part of something that would have never happened if we had stayed on our own. Bringing our rock to all corners of the world!

Many oldschool bands you’ve crossed paths with have been going strong for 40 years. Do you see yourselves still doing this in 10 or 15 years from now?

Definitely!

What’s coming up in the next weeks, months?

This summer, we’re heading out on a series of shows across Québec and Ontario. After that, we’ll be playing in Eastern Canada for the first time in 15 years, and we’ll be back in Europe in November.

Written by: Claudia Bo et Unwanted Noise

Translation: Jess Peach

L’article June 2026 Headliner: Unwanted Noise est apparu en premier sur Le Bad Crew.

As Cryptopsy were about to take the stage in Baltimore on Saturday May 2, 2026, I had the opportunity to speak with the band’s vocalist, Matthieu McGachy, aka Matt, about his early days with the group, their legendary album None So Vile on its 30th anniversary, their current tours, as well as their upcoming show in Montreal on May 28. 

Since you joined Cryptopsy in 2007, how did you first discover the album None So Vile? What was the first song you heard?

Matt : To be completly honest, I think the first time I heard None So Vile was when I started trying to learn the songs after becoming Cryptopsy‘s vocalist. Before I joined the band, I wasn’t really the biggest Cryptopsy fan. I knew they were internationally recognized, but I wasn’t that into death metal. I was in another band before (3 Mile Scream) which was more metalcore, so we really wanted to be closer to Killswitch Engage. There were choruses where I sang and other verses where I screamed, on top of breakdowns. I remember starting to learn the songs – it was very difficult, as Lord Worm has a very particular way of screaming and making sounds with his voice. But at the same time, he’s a very strong writer. His lyrics are very poetic, dark and strange. He would write the lyrics, and then layer sounds over them, and the syllable count didn’t always line up. When I started, at least for the first year, it was really hard to figure out what he was actually saying versus what was written in the lyrics. I remember it clearly: I’d read the lyrics, listen to the songs, and then call Alex Auburn, who was playing guitar with us, and he’d say: « Ah, I think he’s saying all the words… » and it felt like I had a mountain to climb, standing right at the bottom. I knew I had a lot of work ahead of me before I’d be ready to perform live.

In that case, how did you end up crossing paths with Cryptospy? 

Matt: The Montreal music scene is actually pretty small, and everybody rehearses at Cité 2000. There a bunch of jam spaces there, and Cryptopsy practiced there too. I’d see them walking through the hallway and think to myself: « Oh wow, those guys are real musicians doing world tours. » So I knew who they were by name and by sight. 3 Mile Scream opened for Cryptopsy once or twice, always in Toronto, for some reason. 

Now that you’ve learned to love the album, what’s your favorite song from None So Vile? 

Matt: Ah, there are so many. Right now, we’re still in the middle of the None So Vile 30th anniversary tour. It started in Asia, then New Zealand and Australia, and we’ve toured all accross Europe. We’re playing a lot of songs from None So Vile so it’s hard to pick just one. But the one that gets the biggest reaction from the crowd, the one where you can literally see the light in people’s eyes when it starts, is Graves of the Fathers. There’s such a great groove in the middle section, and there’s a huge exchange of energy between the crowd and us, back and forth. Graves of the Fathers, is definitely very high on my list of favorite songs from None So Vile. The other one is Orgiastic Disembowelment. I love that one too, there’s another huge groove section where we can really connect with the crowd. Everybody’s headbanging together – I really love the verses in that song and the way it’s written. It’s rythmic, very oldschool: I love that song a lot!. 

Will you be playing the full album at your Montreal show? 

Matt: No. We decided not to play the album in full because we only have a one-hour set. Cryptopsy‘s music style is extremely intense. It’s a physical experience for everyone, both for the band and for the crowd. If we played all of None So Vile it would take around 35 to 40 minutes, with the speeches included. We also wanted to play newer material for the audience, because we just released an album last year, An Insatiable Violence. As musicians, it’s really important for us to play that material live, because it’s not only because of our first two albums that we’re a legendary band. We’re still releasing new material, even if we have the legendary status because of None So Vile and Blasphemy Made Flesh. We want to show people that we’re more than just one album, so we decided to play six of the eight songs [from None So Vile]. Our setlist has all the hits: the tracks from None So Vile, a song from Blasphemy, and a lot of newer material.

Did you make the call on the opening bands [Necrot, Fulci, Blood Monolith, Spirit Adrift] and if so, why did you pick them? 

Matt: Yes, I made a list of potential opening bands and looked at it. We have a booking agent who talks with all the promoters in every city. So I look through the roster to find artists who are with the same booking agency, and I go from there. It’s easier when it stays within the same family. Fulci was on my list, but unfortunately they didn’t get their visas in time to make the show. Luckily, Spirit Adrift joined the tour, stepping in less than a week before the tour started. They had to organize everything with their families, find transportation, jam their sets enough to be fully professional and ready to play the songs… and they did great. So thanks to them, the tour is complete and still going strong. 

Was it a deliberate choice to end the tour in Montreal? 

Matt: No, but it worked out perfectly. I think it just happened that way and it’s pretty convenient. We’ve done tours before with Aborted [2019] where we played Montreal and then had to go to Toronto afterward. With Belphegor, in 2017, we played Montreal and then played in Rouyn. It works much better for us when we can come home at the end of a tour. That way, my kids can come to the show and then we just head back home – that feels good! 

Are you planning anything special for the fans since Montreal is « home » for you? 

Matt: No, but I’d be thrilled for Lord Worm to come out and sing a song with us, even though I can’t really ask. However, we do have something new for this entire tour on the production side. We installed two LED screens with video synchronized to the music. The visual was created by an artist in Italy: it’s really captivating, intense, and it’s the first time we’ve done something like this.

Earlier you were talking about newer songs, are you currently working on more material? 

Matt: We’re actually starting on Monday [May 4, 2026], as we’re often writing while on tour and during our days off. We typically rest in the morning, and then in the afternoon we set up in a hotel room and start putting riffs together. That’s how we created An Insatiable Violence and it really helped us get a lot of work done in a short amount of time, it worked really well. It’s not always easy to stay motivated when you’re exhausted while on tour, but it’s definitely worth it. 

What are your plans after this tour? Do you already have something lined up? 

Matt: We’ve got another tour right after this one. We’re heading to Europe to play a lot of major festivals in late July and August. After that, we’ve got another really big festival in the US, that I can’t talk about just yet because it hasn’t been announced… but it’s something very cool, unique, and weird! It’s going to be an experience, as we probably shouldn’t even be on the bill.

Many thanks to Matt for the short interview and thanks to Will for helping set it up.

That said, make sure to grab your tickets for the show on May 28, 2026 at the Théâtre Fairmont in Montreal, so you don’t miss an evening of pure death metal and celebration of an album that changed the course of extreme music history!

Support Cryptopsy:

Tickets to the Montreal concert: https://www.universe.com/events/the-decibel-magazine-tour-2026-tickets-Z9CBJG?ref=share-widget-buffer

Bandcamp: https://cryptopsyofficial.bandcamp.com/music

Facebook: https://www.facebook.com/cryptopsyofficial

Instagram: https://www.instagram.com/cryptopsyofficial/

YouTube: https://www.youtube.com/user/CryptopsyDeathMetal

To read other articles on death metal, click here.

Credits:

Editing: Eddy H. Chavaudret

Translation: Jess Peach

L’article A few growled words on the 30th anniversary of None So Vile, with Matt from Cryptopsy est apparu en premier sur Le Bad Crew.

Standing alongside Aephanemer and in the lineage of Children of Bodom, Nothing New in Heaven carries the torch of European melodic death metal with « Crossing the Bloodred Sea« , a release that feels like a gift from the heavens. 

The Nihilist’s Bible 

The first prophet, Alex Hoerner, is the author, composer and musician behind the Nothing New in Heaven project, which he founded in 2010 when he began writing and recording his own music, solo. The name came to him while reading  »À l’ouest rien de nouveau » from Erich Maria Remarque. He was drawn to the title and decided to reshape it into something more mystical, and less directly tied to the book’s central theme of war. Aside from the groovier tracks, the lyrics follow this spiritual thread, offering a particularly cynical view of religion that even drifts into nihilism on some songs. 

At the end of 2019, the second prophet, Simon Cousin, entered the band’s story in the wake of the last day of the melodeath gods in their sacred land – in other words, following Children of Bodom‘s final show in Finland. The two Frenchmen met entirely by chance on the bus ride back from the concert. Alex invited him out for a drink and told him about his project, which was missing only one thing: a vocalist. Simon agreed to take on the role, despite the alcohol already running through his veins. The next day, Alex reminded him of his commitment and laid out his influences: Ensiferum, Wintersun, Norther and of course, Children of Bodom. 

Like many other bands, COVID-19 paused everything. But Alexi Laiho’s death, singer and guitarist for Children of Bodom, just one year after his final show, served as much-needed kick in the ass. The band realized they had to release at least a first EP, which materialized in 2022 under the name Of Passion and Pain. The momentum carried into 2023 with their second release, Live for Me, Die for Me. And they clearly kept it going in 2025 with Crossing the Bloodred Sea, completing a trilogy of album artwork by Hervé Costa, respectively red, green, and blue, created as a tribute to their late idol. 

The new EP’s Behind the Scenes.

This time, Alex received a helping hand from the pen of one of his friends, Alexia Chudy, on this 200-copy release. She delivers the opening words of the EP, as she had already done on one track from each of the previous two releases. NNIH also welcomed guest vocal appearances from: Clément Dellis from Embrace Your Punishment and Sun Eater, Lucie JB and Louis Dorigny. Recording took place in Alex‘ home studio, while mixing and mastering of the five tracks were handled by Guillaume Schappacher of Gravity Sound Prod. 

Review

With Fall of the Believer, Nothing New in Heaven opens its latest offering on a piano-driven melody, and just before the one-minute mark, Alexia warns us that religion may be nothing more than an illusory hope. The melodic death metal journey truly kicks off shortly after, carried by Simon Cousin and the band’s orchestration. I was surprised to hear a clean, non-screamed chorus around 2 min 35 s, a practice rarely used by the band, but damn, it fits their sound perfectly. 

Then, Waves of Salvation follows with a guitar riff from Alexandre Hoerner that immediately grabs my attention. Once again, a clean vocal choir catches me off guard, and with growing pleasure. This gives way to a calmer passage built around spoken words. When the riff from this quiet moment returns, paired with a remarkbly well-programmed drum track, the listener can only fall for Simon‘s scream, right before a solo that feels far too short comes in. 

After a gentle melody closes the previous track, Rise of the Nihilist opens the next one. A little later, the guitar reminds me strongly of a song from Aephanemer, which is by no means a bad thing. As indicated by the title, the lyrics clearly depict a loss of hope in life, brought on by the absence of faith, leaving the nonbeliever to a mortal existence without any real purpose. 

For the title track, Crossin the Bloodred Sea, what better way to start than with the sound of waves in the background, accompanied by acoustic guitar, orchestration, and harmonized vocals? Gorgeous riffs intertwine seamlessly throughout the song. Another stunning section, featuring the same vocals as the intro, appears around 3 min 30 s. The track ends with a fade-out, that unfortunately cuts a chorus that deserved to be longer. 

The fifth and final track is an unexpected cover, renamed Opa Groovy Style. Any guesses? Here’s a hint: it’s the ninth most-watched YouTube video, with over 5.75 billion views since its release on July 15, 2012. For those who didn’t get it, it’s Gangnam Style by South Korean K-pop superstar Psy. The guitar, bass, drums and even growled vocals give a fresh twist to this globally recognized hit. The lyrics remain mostly the same, except for the chorus « Opa Gangnam Style » where Simon sings « Opa Groovy Style » instead. The French musicians add spoken interjections and laughter, ending the EP on a playful, almost comedic note. 

The epic journey isn’t over… it’s only just beginning. 

In the near future, the band will actively start looking for musicians to finally play live, transforming into a true full-fledged group. Beyond that, now that NNIH has achieved its initial goal – releasing three EPs to showcase what the duo is capable of – they will focus on their first full-length album. That said, the two friends prefer not to reveal any details, to avoid creating false expectations. It’s in the works, but only time will tell.

In conclusion, I’d like to sincerly thank Alex and Simon for giving me nearly an entire evening to learn more about their band, and simply chat and laugh together across three different countries at the same time: Finland, France, and Canada. Hoping they’ll visit us one day, I strongly encourage you to listen to their music and support them by visiting the following sites:

Bandcamp: https://nothingnewinheaven.bandcamp.com/

Patreon: https://www.patreon.com/c/NothingnewinHeaven/posts

Facebook: https://www.facebook.com/NothingNewInHeavenMETAL

YouTube: https://www.youtube.com/channel/UCtJzfeWypLOCVF74bgue7uQ

Linktree: https://linktr.ee/nothingnewinheaven?utm_source=linktree_profile_share&ltsid=2347e447-8a08-4ac5-9c9f-d5dedc0d2ec0

Credits

Written by : Eddy H. Chavaudret

Photos & images: Nothing New in Heaven

Translation: Jess Peach

L’article Melodic Death Metal’s Paradise: Nothing New in Heaven’s Third EP est apparu en premier sur Le Bad Crew.

Origin story

My love for Out of Order has been going strong ever since they first came onto my radar, about 6 or 7 years ago. I can’t even remember. This band hailing from Halifax, Nova Scotia, will soon be blowing out their well-deserved 25 candles.

For the past few years, every time they put something out, Scott (Maracle) sends over their material and asks for my thoughts. This gesture really touches me, because it means my opinion matters. That said, if I don’t like an album, well, I’ll be blunt, and I won’t write about it.

With Out of Order, they’ve never disappointed me, so I blindly accepted Scott‘s request to review it, even though I haven’t really been doing it for a while now.

So there I am, sitting in my favorite café in Sainte-Thérèse, Les Allumées. As soon as I stepped foot into the café to order my black Americano, that fucking Christmas music was blasting my ears. Hey Mariah, get out of my fucking ears.

What perfect timing to pull out my headphones and open the precious file Scott sent a few days ago.

Sometimes it’s hard to tell whether you’ll like an album or not on a first listen. My first hint is literally a physical reaction: my body automatically responds to the sound with quick foot stomping and an urge to air drum on my laptop. Mission accomplished – that was all I needed to know I loved it.

Out of Order

Out of Order’s sound stayed true to what they’ve been since the very beginning, except that it has evolved – just like the band members themselves. The albums are similar in some ways, especially the most recent ones, not in a way that suggests a lack of creativity, but rather because it’s part of a nice continuity that shows the band has found a sound of their own.

Although I sometimes felt like their past albums sounded like this or that band, this one, Lex Talionis (law of retaliation), sounds like Out of Order. Period. In a band’s progression, that is something precious – it’s what allows them to stand out, carve out their own space, and ultimately survive over time. And now, it’s been almost 25 years.

The album

From the very first listen, I’m completely charmed. Lex Talionis is a treat: pure joy for the ears with an irresistible tempo that instantly makes you want to  »shake what your mama gave ya ». The LP flows through 12 solid tracks, each more impactful than the last. While the songs build into a cohesive whole, some really stand out.

One of Out of Order‘s traits is Scott‘s unique vocals: rusty, broken, raspy, almost gritty at times. A voice that delivers the songs with raw authenticity and fits perfectly with the band’s universe.

Musically, the band navigates between street punk, Oi, and punk’n’roll – a blend that has been their signature for a while now. Some tracks are fast and wild, others more melodic and warm, showcasing a band that masters both raw energy and catchy melodies.

As for the themes, Out of Order delivers lyrics that address grounded human realities: honest emotions, moments of tension, personal reflections, and the survival instinct, part of their universe. Without being overly explicit, the songs convey a certain clarity, a unifying spirit, and a direct way of expressing what their daily lives look like or where their imagination takes them.

Here’s my top 3 tracks – the ones that stood out to me the most:

#4) No Certainty

#7) Facebreaker: for that irresistible riff

#) Tonight: softer, perfect for singing along, impossible not to join in on the chorus

My appreciation 

Lex Talionis is an album that hits the mark: energetic, solid and incredibly catchy. Out of Order showcases everything that makes them outstanding. A raw but controlled sound, unique vocals that leave its mark from the very first seconds, and a sequence of tracks that you can easily listen to from start to finish. Without pretension, yet with full of heart, the band delivers an authentic record. A vibrant album, perfectly crafted for fans of the genre who love both intensity and memorable melodies.

CD & streaming release on february 6th

Vinyl release on march 20th

Writing: Claudia Bo

Translation: Jess Peach

L’article Out of Order : Lex Talionis est apparu en premier sur Le Bad Crew.

Their tour included eight dates, reaching all the way to Halifax in the Maritimes. I had already heard of drummers playing in two different bands on the same night, but I had never heard of one playing two shows in a single day. It’s definitely unusual! Nevertheless, that’s exactly what Among Legends did on July 19 – they played in Fredericton in the morning and in Bathurst that same night!

Since 2016, they’ve released three EPs. According to Idobi Radio, their latest, Take Good Care, is positive pop punk elegantly done and I totally agree! They will be back in Montreal on August 22.

The venue was private and laid-back. Between the warm welcome from the hosts, BBQ, kids running around, and the conversations before/after the band’s set, we all keep good memories of the night.

Since 2023, Noiseway has been organizing all-ages punk rock shows in Rivière-du-Loup. Speaking with Phil, the organizer, he shared his desire to bring even more shows to the region. We need passionate people like him to keep the underground scene alive in a city, and across the whole area. The next show is set for August 15 at la Maison de la Culture in Rivière-du-Loup with Dogo Suicide, Pas Pire Pantoute and Les Bâtards.

Photo credit : Cynthia Côté

Editing : Cynthia Côté

Correction: Jess Peach

Revision : Marie-Eve Landry

Translation: Jess Peach

L’article Among Legends : positive pop punk to discover ! est apparu en premier sur Le Bad Crew.

To read other articles in English, click here.

So, who are they?

Dirty Heads is a reggae rock American band hailing from Huntington Beach, in California. The band started in 1996, with Jared « Dirty J » Watson and the singer/guitar player Dustin « Duddy B » Bushnell in Orange county, California. Jared Watson is one of the singers, and Dustin Bushnell also plays guitar while singing. The two of them met in their first year of high school, and started to create songs influenced by hip-hop, reggae and punk.

Their first album, Any Port in a Storm, was released in September 23, 2008. Their most recent album, Midnight Control, was released in August 22, 2022. They have been related to bands such as Sublime with Rome, 311 and Pepper, and have toured with bands such as Unwritten Law.

The style

The Dirty Heads have a distinctive musical style, combining multiple genres, creating a unique sound. Here is a few features about their musical style: When merging their influences, the Dirty Heads created an eclectic sound, obvious and unique in the contemporary musical scene. First, reggae rock.

Their music is highly influenced by reggae, with impeded rythms and heavy bass lines. The rock brings different energy and dynamic, often with electric guitars and classic rock grooves.

Then, there is hip-hop. Their first songs feature hip hop characteristics, with steady drum rythms, samples and rap. Jared « Dirty J » Watson brings a strong hip-hop influence through his lyrics and his flow.

And probably the reason why I have decided to write this article, punk rock. At their beginning, the Dirty Heads were influenced by punk rock. You can hear it through the fast rythms and a rebellious attitude in some of their songs.

Alternative rock can also be heard. The band integrates rock alternative sounds, which allows them to reach a broader audience but also experiment through different sounds and production styles.

Finally, their strong ska influence. Inspired by California’s ska scene, you can also hear the rythms and wind instruments, specific to this music genre.

But in my opinion, what differentiates them the most from every other music scene, is undoubtedly the fusion and experimentation that they use masterfully. The Dirty Heads are known for their will to experiment and merge different music styles. This allows them to stay on top of the game, innovate, and attract a diverse audience.

The show

I did not know this band up until last year, when my partner made me discover them. Definetly his most favorite band from the past years, their catchy sound quickly made me want to go through their discography. As far as I know, they never performed in Québec. As soon as I saw a date in Niagara Falls, I thought to myself that this was a perfect scenario: I got to see an awesome band and view the famous waterfalls.

To be honest, you had to be a bit nuts to drive for 7 hours and go through 3 hours of trafic from hell in Toronto just to see an hour and a half concert. On top of it it was July 4th Holiday, there was people everywhere and the roads were crowded. But still, it was worth it. People had told me that the venue itself, OLG Stage at Fallsview Casino, was an amazing place and it got me curious.

I’m starting to have a fair list of venues I went to, and I love to discover and compare them. And the acoustic from this venue turned to be of a remarkable quality, as I have rarely visited. This venue probably has the sound capacity equivalent to the rooms at Place des arts, or close enough. Aside from this, Niagara Falls is a souless city where everything is to expensive. The waterfalls are beautiful, but if you’re not excited by it, don’t go.

My appreciation

At last, 8:15pm and the show started. Your typical stage is set with the drums at the back, bass and guitars each side, and finally the lead vocals center front, but not for this band. There was a second stage, elevated, where all the musicians were at the same level and had the same presence. The two frontmen, Jared and Dustin, were on the regular stage with a strong presence and boy did they have energy like I’ve rarely seen before. The sound is amazingly good, they’re happy to be there, and the crowd too.

Right from the first notes, the band captivated the audience with their boundless energy and their unique sound. The Dirty Heads went from one song to another with impressive ease, and highlights of the evening included energetic performances during their biggest hits, as well as more recent songs which were received with equal enthusiasm. They have masterfully demonstrated their talent and their ability to make a room vibrate, without any doubt. Their energy, musicality and interaction with the audience made this evening a memorable one for everyone. A performance that met my expectations and even beyond. So if you are a music lover like me or a fan of this musical style, you absolutely must see this band once.

General appreciation : 5 out of 5 ⭐⭐⭐⭐⭐

List of my favorites songs they performed

My Sweet Summer

That’s All I Need

Life’s Been Good

Lay Me Down

Day by Day

Burn Slow

Bum Bum

Rescue Me

Island Glow

Oxygen

Sloth’s Revenge

Vacation

Redaction : Claudia Bo

Translation: Jessica Peach

L’article Perfection, signed Dirty Heads est apparu en premier sur Le Bad Crew.

A lot of us were impatiently waiting on this release. Not that we were starting to lose faith or anything, but « Bury Me On The South Shore » was slowly becoming an urban legend! The plan was to start recording in 2022, but different delays and problems occurred, pushing the release to Winter 2023 and eventually to Spring 2024. Now we can finally boost this new opus in our ears.

« Bury Me On The South Shore » is the third studio album from Unwanted Noise, a street punk band hailing from Montreal’s south shore who have made their way into the underground scene, all thanks to their brutal energy. After releasing two albums which appealed to fans of this musical genre, it is with a eagerness that this latest release was awaited. It was more than about time that the South Shore Chaos Punkers offer new material to their fans. Let’s see if the band has succeeded at maintaining their standards.

For a similar article, click here

The sound

Right from the beginning, « Bury Me On The South Shore » instantly hits you in the face with its solid and impactful production. The quality of the recording has upgraded compared to their other albums, while keeping the typical DIY authenticity proper to street punk. The guitars are abrasive, the bass echoes with power and the drums hit with a ferocious precision.

The titles from this album are somehow familiar, yet innovative. You’ll find classic elements such as fast and sharp riffs, backvocals and dissending lyrics. Unwanted Noise also incorporate interesting different rythmics and catchy melodies, which brings a whole new dimension to their sound.

The meaning

The lyrics from « Bury Me On The South Shore » pursue their protesting and rebellious message. The themes will go from social injustice to political resistance, by more personal topics. The self-titled song, « Bury Me On The South Shore« , raises a strong connection to our roots and a deep will to fight for our convictions.

You can tell the lyrics are more mature and thoughtful with songs like « Apathy » and « Regrets« , while sticking to the rage for which Unwanted Noise is known for. « Apathy » honors apathy as being a positive force allowing us to stay true to ourselves and resist to social pressure. When adopting a detached attitude, you find freedom and pride, while inspiring others to do the same. It’s an ode to emotional independance and the importance to live according to your own beliefs, despite de critics and external challenges.

« Regrets » cruelly reminds us of universal topics such as regrets and nostalgia, while encouraging us to look forward and accept the choices we’ve made in the past. It’s a reminder to live our lives here and now, and learn how to cope with regrets in a constructive way.

The band did not hesitate to approach difficult subjects with a desarming honesty, which makes the listening experience captivating. Aside from the #2 title on the album, it was entirely composed by Nick and we can tell that he has gained some level of wisdom and maturity in his writing process.

The performances

The performances from the band members on this album are remarkable. Nick, the lead vocal, delivers the lines with an intensity that never fades. His hoarse voice adds a layer to the lyrics’s depth. The guitar players show an impressive technical mastery while maintaining agressive riffs, necessary to the genre. The rythmic is untouchable, offering a strong base that propels each song to an unstoppable strenght.

Strong points

– Authenticity : Despite being « cleaner », the album keeps its raw authenticity, essential to street punk.

– Energy : The album is energetic from beginning to end, each track being a call to action.

– Lyrics : Powerful and thoughtful lyrics, addressing relevant en profound topics.

In conclusion

« Bury Me On The South Shore » is a strong statement from Unwanted Noise. It’s an intense and passionate opus, that anchers Unwanted Noise‘s place in the contemporary punk landscape.

If you like street punk, this album is essential. For those of you discovering this musical genre, « Bury Me On The South Shore » is a great start, presenting a raw and authentic outlook of what street punk has to offer at its best.

European side : Ronce Records; Maniac Attack Records; Emergency Records; Zone Alternative Distro; Incredible Noise Records; Under Attack Records; Revolting Kids Records.

North-American side : Truckstop Toilet Records ; Dismantled Records; Pils Records.

Writing : Claudia Bo

Translation: Jessica Peach

L’article Bury Me On The South Shore – Unwanted Noise est apparu en premier sur Le Bad Crew.

In 1991, the band Global Holocaust from Montreal South Shore (more precisely Longueuil) came to life. First version of the band was:

Simon Paré : Drums

Jean René Galarneau : Guitar

Chris Morin : Bass

Fred Pelland : Vocals

With these band members, G.H played two live performances in St Hyacinthe with Human Greed and BARF. Not too long after, Global decided to welcome a second guitar player, Jasmin Giroux, in 1992. With this first version of the band, from 1991 to 1997, Global Holocaust played multiple shows with bands such as Human Greed, BARF, General Fools, Self Control, Civil Disobedience, Varukers, Casualities, Psycho(Boston), Immoral Squad, November Grief, the Spider Fest 95 and many more local bands. They also released many demos and EPs.

The band’s releases in the 90’s

Demo Hope in 93

Demo Split with Tragic Error in 94

Split EP Global and Fierce in 95

EP Split Global and Obxinious Race in 96

Split EP Global and Oppressed Conscience in 96

EP Global No more 1997

EP Global Human Mistakes 1997

Split EP Global and Urban Trash 1997

CD split session with Obxinious Race 1997

End of the first version of Global who have decided to put a term to their project, after several years.

The second wave

In 2004, Global reunites once again, but with a new band member named Paul Cormier backfilling their first guitar player, Jean René. Through this rebirth, Global are often seen performing live between 2004 to 2008, during which they have also released three other EPs. In 2006, the band has decided to part ways with Jasmin and then welcomed Yanick Nadon as the second guitar player of Global. Year 2008 marks the end of the band.

Members :

Simon Paré; Drums

Fred Pelland : Vocals

Chris Morin : Bass

Jasmin : Guitar

Paul Cormier : Guitar

Yan Nadon : Guitar (2006 to 2008)

Early 2000 releases

In 2006 the EP Global and Mass Grave

Global and Dehumanized Earth 2006

EP Unequal Justice

Today

And just like the proverb says « good things come in threes » (hehehehe) well, 2018 is no exception for Global! This time around, with this new version, Dave Després comes in as the new drummer and Jasmin Giroux takes back his guitar player role. Global were part of the Grind Your Mind Open Air 8 with Internal Bleeding, Demence, Psycho and several other bands to celebrate their comeback. During that year, Global play with Les Rektums, Alazif, Self Control, etc.

In 2020, the worldwide pandemic messed things up for almost a year and half, during which nothing happened. No live performance, no recording, everything was on hold and even for Global. Paul has decided to leave the band at that time, in August 2021.

Global welcomed K-Rol (End Of The Line, Les Rektums and former Corrupted Reputation) as their 2nd guitar player. Because of the public health restrictions still in place, Global started jamming with the new member in order to be ready as soon as the pandemic was done and over with. June 2022 marks Global‘s first show with Collapsed Under the Bridge (Van Horne in Mtl) and a series of other live performances with Xplicit Noise in Sherbrooke, Mtl and Québec. In October 2022, Global played with the almighty Dropdead at Piranha in Mtl. Things were booming for the band, starting to create songs again.

2023…

After a while, they hit the studio in Spring 2023 to record a new EP, Act Of Disaster.

Another series of shows followed. August 2023, Global Holocaust shoot their very first videoclip for the song Useless Death showcased on Hardcore WolrdWide and also part ways with Jasmin, which was subbed by Yan Nadon for the Varning Fest at the Piranha with bands such as Meanwhile, End of Pollution (Japan) Fractured, ATER etc. After this show, Global started looking for a new guitar player because Yan was leaving on tour with Endform. The search for a new member went fast, as K-Rol knew a great guitar player (as well as a good friend and former member of Corrupted Reputation). Guylain did not hesitate to join Global, and after only a few jams, two shows were planned, one of them being the Kickass Festival with The Spartanics, Self Control, Genetic Error, La Gachette, Unwanted Noise, Destructive and others. The 2nd show, in November 2023, took place in Trois-Rivières with the local heroes Genetic Error and the legendary Aggression for the Trois Rivières Metalfest.

To this day

Global Holocaust promote their new EP Act of Disaster, for which a few gigs have been booked in Mtl, Trois-Rivières, Coaticook and more dates to come.

Members :

Fred Pelland : Vocal

Chris Morin : Bass

Dave Després : Drums

Jasmin Giroux : Guitar (2018 to 2023)

Paul Cormier : Guitar (2018 to 2021)

K-Rol : Guitar (2021 to this day)

Guylain Meilleur : Guitar (2023 to this day)

Recording

EP : Act Of Disaster 2024

Here’s a list of bands Global Holocaust shared the scene with:

Macabre, Extreme Noise Terror, Acidez, Mass Grave, Meanwhile, Hard charger, Hiatus, Soothsayer, Aggression, Drop Dead, Psycho, Endform, Collapsed, BARF, Civic Disobediance, Piss Rot, Fleas and Lices, State of Fear, Anal Cunt, Human Greed, Self Control, Genetic Error, Xplicit Noise, le Spider Fest, Vancouver Fest and many more.

Projects (former or current) from the members :

Fred P : Disagree, HellBound, Hang them All and Collapsed

Chris Morin: Revolted Vermins, Apocalyptic Approach, Konfront, Excrete Cowboy, Nilistic Nobs and Last Rockers (drums)

Dave Després: Konfront, Collapsed and Shred it

K-Rol: Corrupted Reputation, Les Rektums, End Of The Line, Damnation (Bass) and Hold A Grudge ( Bass)

Guylain: Corrupted Reputation, Voor, Skullmace and many tribute bands Slayer, Iron Maiden, Metallica and Flogging Molly

Editing:
Review: Marie-Ève Brunet
Translation: Jessica Peach

L’article May 2024 headliner: Global Holocaust est apparu en premier sur Le Bad Crew.

The band has managed to establish a solid fan base that continues to expand, thanks to nearly a hundred shows played across the province of Quebec and Ontario. Their fans’ growing love can easily be proven: two of their four EPs were nominated for the “best punk album/EP of the year” category at the Gala Alternatif de la Musique Indépendante du Québec (GAMIQ) in 2018 and 2021.

Capable! has a busy schedule. The band has performed with big names of the scene such as Ten Foot Pole, The Sainte-Catherines, The Real McKenzies, Get Dead, Les Marmottes Aplaties and Les Shériff, to name only a few of them. They have also participed to several festivals, in particular Rockfest and Pouzza Fest, on top of organizing their own tours. And one thing is for sure, the boys are tight when performing live.

To read one of Marie-Ève’s previous article on Capable!, click here.

The stakes are high

I have never been disappointed by the band since their very first EP, but let’s be honest here. Bands sometimes lose their original sound after a few releases and we lose interest in them over time. When Maxime reached out to me with their new album, excitement and fear invaded me.

Not that I was expecting to be disappointed, but I had high expectations. Then I thought to myself that the band had just signed a contract with Stomp Records, making it almost impossible for the album to be crappy. Because I was hoping for a masterpiece, my judgement skills were altered and I suddenly became far too subjective. Though they already had released four EP, still, it was their first album! However, the boys stayed true to themselves and have put their hearts and soul into this new opus. So, what about the album?

So, what about the album?

As soon as I pressed play, I was completely charmed. The first track, Poussières D’étoiles, fills our ears with fast, melodic and catchy rythms. It’s always hard for me to put Capable! in a specific music genre, their influences being vast and eclectic. From punk rock, to pop punk, and skatepunk. Nevertheless, their music is a pure delight for the ears, no matter the melody.

It’s a surging tsunami of rhythms and chords, each one being more divine than the last. The bridges are well done and harmonious, the guitar offers a few bends once in a while and the drum goes from 300 to 100-ish BPM and vice versa, for those of you who don’t like fast technical beats that much, like me. The bass also steals the show from time to time, for instance in the song Mercredi Sans Écran.

And I must confess, I have a weakness for Israël‘s vocal, which has a little teenager feel to it, almost nasal. Yet the perfectly adjusted and relevant vocal harmonization transitions of the back vocals makes a whole. Regardless, what gets me everytime is mainly related to the fact that all of their songs are in French. There’s no way they are going to switch to the dark side. Now let me set something straight, I have nothing against anglophone music, don’t get me wrong. But being able to listen to an album of this quality in my native language is literally just like candy.

In summary

Truth is, it’s probably the best 21 auditory minutes that I’ve spent in the last year. I have listened to this album over and over again over the last few weeks, and picking my top 3 songs was almost mission impossible but I finally made it :

– Bras D’sus T’sous D’bras

– Punk Différent

– Tout Ce Que J’ai

Désordre Organisé lives up to its name from start to finish. The themes refer to life, experiences and happiness in a perfectly orchestrated order on catchy, dynamic melodies that make you want to sing, mosh and party.

It’s already the end!

Not only Désordre Organisé will be the talk of the town, but I’m also convinced that we’ll hear about Capable! for the next while. Be on the lookout because chances are that the band will play in a town near you.

Follow them on Facebook – Follow the band on Instagram – Follow on Bandcamp

Editing : Claudia Bo

Correcting : Céline Montminy

Review : Marie-Eve Landry

Translation: Jessica Peach

L’article Capable ! Le Désordre Organisé (English version) est apparu en premier sur Le Bad Crew.

Shame Banger

The first band is from Seattle, Washington, Shame Banger. They describe themselves as post punk or empathy core. Their songs are A Modest proposal and Our Fortress. I love that the bass is upfront on Our Fortress. The vocals really are unique, a mix between harsh and resounding, which strangely sounds good. You can definetely feel the mood of the song. As if they were carrying us into their own little world. The band has four members, one bass, one guitar, one drum and vocals.

Mean Bikini

The second band, Mean Bikini, is a band from Cumberland in British Columbia. As advertised on their Bandcamp : « Mostly queer, sometimes political… » these first words summarize the lyrics to their songs. And for the record, these songs reveal a perfect blend between skate punk, fast punk and even hardcore. Executive Disfunction and Growing pains were trully meant for this compilation. Listening to their sound reminded me of the kind of music I was listening to back when I was 14-15 years old and riding. (I know, it was a long time ago).

Harsh

Here we are in Calgary, Alberta with Harsh. This band also identifies as queer, but mostly feminist. The female fronted vocals, delicate and without pretention, brings us in a whole completely direction. The songs Jam Cat and Song 2 allow us to discover how good the band is, thanks to their musical variations cleverly done. There are also four members and clearly are enthousiastic and vivid to sign from their guts.

They call it chaos

Here’s the fourth band. They are from Niagara in Ontario. They call it chaos is a skate punk band, fronted by a fast and clean male vocalist. Their songs Dear Chris and Beelzebubl are fast and rythmic, and we love it. A new member has joined the band only a few months ago, and you can’t even tell. They have a great chemistry and it’s the kind of band that could easily be heard in a skate movie. Musically speaking, they are gifted. You can feel that three of the members have known each others for several years. They look fulfilled and I believe that this is what makes them so good. They have their place on Outhouse Records presents Bring’em in vol 1.

The grinning Barretts

For the fifth band, it’s a different style of punk. And it’s one style that I personally like, celtic punk. The Grinning Barretts come from Ladysmith in British Columbia, but they manage to carry us away in the celtic countries. They have everything to please us: bagpipes, experienced musicians and a perfectly gruff voice for this kind of music. If you have read some of my other reviews, you know how I love sing alongs; it’s unifying and this is what they do in I Remember. However, in Polarity and Vitriol, they showcase how unique they are. They play punk celtic their own way, and it sounds like a ton of bricks.

Maverick

The sixth band is the only one from Québec on this compilation. But they take their place well. I’ve seen them perform live before and trust me, you don’t want to miss them. I already knew Maverick, and it’s because of them that I wanted to listen to this whole album. I’ve had the chance to interview these guys, who are so nice. Besides, if you’d like to read it, here’s the link to their interview. It’s a true fast punk band with a slight hardcore edge. I’ve rarely seen that much talent reunited on one stage at the same time. With the guttural vocals and harmonical, as well as fast and colorful music, they know how to make the crowd move. In Bleeding, it’s their common sound, but I had a crush for Johnny’s Rollin’ which will make you stomp your foot on the ground.

Real Mean

You might know Pilsgnar more. They have recently changed their name when their lead guitar left the band, out of respect for him, and they are now known as Real Mean. This band is from Vancouver, British Columbia. Again this is fast punk, but with vocals that are particularly high and roached. It’s surprisingly pleasant to the ear. This creates a unique sound. Like the rest of the bands, they have an incredible talent that shows in their songs. It’s harmonious, it rocks and it’s tight. This is another band that I’ll try to catch if they ever come.

No Brainer

Last, but not least. A band from Calgary in Alberta. No Brainer is more of a melodic punk band, almost Californian. Cultist makes me think of a mix between Face to Face and new Strung Out. This is very interesting, knowing that these bands are much appreciated in the punk rock scene. On Parasite, you’ll hear a completely different voice, which almost sounds like Fat Mike. But still, they have their own sound and they’re not trying to mimic anything else. That’s why I like what I hear. I’ll look at more of their stuff because it’s definetely my style. They also have that special talent of being able to play and sing at the same time; you know, this talent that we’d all like to have.

Outhouse Fest IV

In summary, if I only had to use one word to describe this amazing compilation, I’d go without any doubt with « excellent ». I’ve always liked compils, because I did not have enough money to buy tons of cassettes or CDs when I was young. And also, it’s not hard at all to appreciate the overall work and talent that’s on the album. If you feel like traveling in Western Canada this summer, Outhouse Fest IV is hosted next September 6 and 7 on a farm in Pender Island, British Columbia. A fest like we like them, with a camping site and 2 days of punk shows. Outhouse Records presents Bring’em in vol 1.

Writing : Mélissa Magne

Editing : Josée Marcoux

Review: Julie Fortin

Translation: Jessica Peach

L’article Outhouse records presents Brig’em in est apparu en premier sur Le Bad Crew.

Unsanitary is streetpunk crust band that tends to go in many different directions, all thanks to the musical repertoire of its members.

Unsanitary rose from Steve’s idea back in Spring 2020, which came to fruition in Pat‘s basement who had just moved to Sainte-Praxède, deep in the woods, about 5 minutes from Disraëli. Unsanitary, it’s Patricia at vocals (from Drummond, never had a band but is a thrash master ), Dom (from Granby) playing the drums – former Désordre Mental – and Dave (from Granby) at the guitar. He used to play with Victims of corruption, as well as He Lies In Run. Then joined Steve (de from Sherbrooke Stratford) at vocals. Dom and Dave were in charge of the music, while Pat and Steve were writing lyrics. « We were jamming one or two nights a week, and ended up with 13 songs. We were looking for a bass playing and turns out it wasn’t so easy given our location: we’re in a no man’s land. We finally found someone, Stef from Fidel Fiasco, but the distance and his schedule with Fidel did not allow him to fully dive in our project, Unsanitary« . Then, Rawx from The Bombs joined but after two jams, she decided that her new mom life and other personal reasons, it wasn’t possible for her to travel such distance.

We continued our search, and we found Vicky from Trois-Rivières, also bass player with Chiens Errants. She came for one jam, and has never left since. After only a few weeks with our new partner, Steve has decided to leave the band because of time constraints and personal reasons. Unsanitary decided to go on with only one vocal leader, Pat. Two days after this news, Unsanitary played their first official show in Dave Lemire‘s garage, on May 6, 2023.

Since then, we’re playing shows, we’re recording and we are putting together new songs.

Redaction : Unsanitary Editing : Julie Fortin Translation : Jessica Peach

L’article February 2024’s headliner: Unsanitary est apparu en premier sur Le Bad Crew.

Although, I miss recording. I crave discovering new music. I miss doing chronicles. I envy going to live concerts and dive into a pool of heavy noises, distortions and fast riffs.

The Agree To Disagree album came out last September 11, 2023 and I had not yet paid attention to it. Shame on me!

The band recently resubmitted their complete discography to the Bad Crew. I no longer had a choice! All collaborators had their hands full, so I have decided to take care of it myself.

It was about time to take the time. So I pressed Play. I savored it and felt in love. I bearely have time to do anything and I haven’t done album reviews in a while. It had to be that good to make want to get to my keyboard.

Who are they?

The Beta 58’s is band from Kingston, Ontario founded in 2012. Unless I missed something, the band released two albums, a few singles and features on the excellent compilation album Punk Canada Vol. 1.

The band self-proclaimes as punk’n’roll. And they are right, given that they brilliantly master the genre. Surfing on different melodies and influences, it’ll go from Oi to punk rock, through street punk. You can sometimes even hear hardcore riffs or even folk. Their sound is erupted, well assumed and passionate.

If I had to classify this band, it would simply be in the « excellent » category. They master their art and it seems to them like it’s natural, without forcing it. For those of you who aren’t as familiar to the style, if you know and enjoy Out of Order, Psychopunch, or even Guitar Wolf, you’ll be well served.

And what about Agree to Disagree?

I took a peak at their Bandcamp page and I have decided to pay attention to their latest album entitled Agree To Disagree. Ten songs come together, sometimes on loud and heavy melodies, sometimes on light and catchy riffs. The singer’s voice is hoarse, suave, harmonious. The backvocals are well orchestrated, while the melody and the rythm are well-made. You’ll feel like stamping one’s foot and sing along to the catchy chorus.

I would not say that the reinvented the style or that they are doing something different from other similar bands. However, what they are doing, they are doing it perfectly, without becoming a caricature, nor the déjà vu impression. This is why it’s one hell of a discovery for me, and since it might play a lot in the upcoming weeks, I bet they will be part of my favorite releases in 2023. I had a very hard time identifying what was my favorite song but sometimes you must make decisions, so I chose Destruction Orgy. A small special mention to the last song from the album, A Fond Farewell, who clashes a little, but is delightful to the ear and wraps up the album to perfection. Here are the links where you can hear them.

Where to find and listen to them :

Spotify 
Bandcamp
Instagram 
Facebook 

Redaction : Claudia Bo

Editing : Céline Montminy

Review : Marie-Eve Landry

Translation: Jessica Peach

L’article Rock’n’roll, The Beta 58’s style : Agree to Disagree est apparu en premier sur Le Bad Crew.