Live Report

Live Report: GOJIRA + NECKBREAKKER + COMEBACK KID, Monday December 8, 2025 – Nice (France)

Posted by tarjavirmakari on December 12, 2025
Posted in: Int. News, Live Report, News. Tagged: , , . Leave a comment
GOJIRA on stage

Live report + Photos by Christian Tallone

An explosive Immaculate Conception this year, for a highly anticipated show.

After departing from Reims at the end of November and then passing through Paris, Lille, and Marseille, GOJIRA landed in Nice for their fourth-to-last concert on home soil. This 12-date tour is setting France’s major cities on fire, supported by Denmark’s Neckbreakker and Canada’s Comeback Kid.

Expectations are high—let’s see what happened on this sunny pre-Christmas day on the French Riviera.

I arrive in front of the Palais Nikaia well in advance, surprised by the fact that—considering the sell-outs at some previous dates—even just minutes before doors open there are very few people around. Around 6:00 PM the gates finally open, and we head inside.

NECKBREAKKER:

Opening the concert at 7:30 PM as scheduled are the very young death metal newcomers Neckbreakker, fresh off the release of their album Within the Viscera on Nuclear Blast. They blast about half an hour of brutal death metal straight into our faces. The five guys give everything they have in the limited time available, with all the ferocity of a band that has just released its debut album and earned the privilege of taking part in a tour of this magnitude.

Frontman Kristoffer Kofoed drives the band through a solid performance, though it’s a shame about the somewhat muddy sound: the drums are low and muffled, the guitars lack clarity—basically only the vocals really come through.

This is probably also due to the fact that the venue is still half empty at this point. A band that may still be a bit raw, but with enthusiasm that fully involved everyone present. I hope to see them again soon, and I’ll definitely dig deeper into their work by blasting Within the Viscera at full volume.

COMEBACK KID:

After a quick changeover—keeping the same portion of the stage and the basic Neckbreakker setup (banner and very dark lighting)—it’s time for the Canadians Comeback Kid. A much more seasoned band, active since 2001 with eight albums under their belt, they hammer us with hardcore punk in the tradition of genre giants like Biohazard and Hatebreed.

The sound is noticeably better for them: the New York–style guitars of Jeremy Hiebert and Stu Ross fill the atmosphere over the massive, fast rhythm section of bassist Chase Brenneman and drummer Loren Lagare. Frontman Andrew Neufeld whips the crowd into a constant pogo, repeatedly calling for circle pits and even climbing down from the stage to scale the barriers and sing along with the fans!

Filthy growls, chants from the dirtiest punk school, sweat, and a Black Flag T-shirt paint the perfect picture of these roughly 40 minutes of pure, raw hardcore. What else can be said? Direct, powerful, violent—full throttle from start to finish. An excellent performance that warmed up both speakers and ears perfectly.

And as everyone knows, when you sweat, you need to drink—so beer it is, while we wait for the arrival of the evening’s highly anticipated headliners.

GOJIRA:

Here we are. It’s 9:30 PM when the lights go down and a roar shakes the Nikaia, now finally packed with fans of all ages, French and Italian alike—given we’re just a few kilometers from the border—all united by the same excitement to see a band that, active since 1996 and about to celebrate 30 years, has slowly climbed to the top and is now unquestionably one of the best bands around. They’re celebrating this massive milestone after conquering the other side of the ocean, with an all-French tour that somehow brings them back to their roots.

Lasers, blinding white LED lights, smoke, the giant screen projecting images of futuristic human creations, a chaotic tribal backing track… a crescendo of volume and noise… then sudden silence, a few seconds of darkness… an explosion!

Walls of fire erupt as Gojira open with the terrifying Only Pain—powerful, precise, chills… almost tears. The crowd goes completely insane, and for the next two hours the security staff will do nothing but catch people flying over the barriers.

The opener is followed immediately, without a moment’s breath, by the equally devastating The Axe and Backbone. Mario Duplantier behind the drums is an incredible machine, and together with the visceral bass of Jean-Michel Labadie they create a colossal rhythm section. Christian Andreu’s guitar is ferocious, supported by the six strings of Greg Bubacki—the American member of Car Bomb, also known for his work with Meshuggah—recruited to replace Joe Duplantier, who is injured in his right hand and performing tonight exclusively as vocalist. A role that doesn’t prevent him from being just as compelling.

Stranded, the granite-solid The Cell, Wisdom Comes, and the iconic Flying Whales—as hypnotic as it is violent—made even more impactful by a massive inflatable whale soaring above the crowd before disappearing into the darkness at the end of the song. This gives way to police sirens and a Mario Duplantier wearing a thief’s mask and a royal crown, running across the stage with the Mona Lisa under his arm, then holding it up like a sign reading:

“Nice!!!… ça va??… you want more double pedal???? 5 minutes non-stop??? Make some noise!!!!!”

And those five minutes of non-stop double bass arrive, and they make plenty of noise with the crushing From the Sky, a brutal machine-gun blast of double kick drums. Then it’s like a rocket launched into the universe as the four astronauts give us the magnificent Another World, followed closely by the famous Silvera.

We’re halfway through the show, and it feels like the best is still to come. Joe Duplantier invites Marina Viotti on stage, the Franco-Swiss opera singer already known to metal fans for her appearance with the band at the opening ceremony of the 2024 French Olympics, to hit us with a decapitated Marie Antoinette during Ah! Ça Ira!!! (Mea Culpa).

A symbolic song of the French Revolution, previously interpreted by the iconic Édith Piaf and fantastically rearranged by Gojira.

We jump from L’Enfant Sauvage to Fortitude with Born in Winter and Born for One Thing, then break our bones with a medley from their third album From Mars to Sirius (Where Dragons Dwell / To Sirius / Ocean Planet / In the Wilderness).

The Bayonne natives are unstoppable, giving their all with every note and thanking the French Riviera crowd: “It’s the first time we play in Nice—thank you!” Picks rain down, and Marina returns on stage in evening wear, leading the entire audience in the chorus of the beautiful The Chant, followed by the overwhelming Amazonia—a song I love, clearly infused with Sepultura influences—in which Joe, despite his brace, grabs a Gibson Diavoletto for an incredible and bloody three-guitar version!

They exit the stage briefly, then return for two encores, running purely on adrenaline and the fury of their last remaining energy: L’Enfant Sauvage, closing with Global Warming.

After about two hours of showtime—18 songs plus four in the medley—and a performance that was nearly flawless both musically and visually, they don’t hold back with their goodbyes: four T-shirt cannons, picks, drumsticks, setlists!

A far cry from bands that leave the stage without even a forced smile.

Gojira love what they do. They truly love their audience, and that love is returned. They break down the barriers between us and them—we all become one. In nearly 30 years of concerts, I’ve rarely felt this… actually, never this strongly. One of the best concerts I’ve ever seen in my life.

For anyone who has never had the chance to see this incredible band live, I can only say: do it as soon as possible. For everyone else, there’s no need to say anything—they already know.

I’d like to personally thank Gojira and their management for giving me the opportunity to attend such an epic event, for allowing me, in a way, to work for them and bear witness for others. It was a pleasure and an honor!

And a huge thank-you to Mario Duplantier for gifting his drumstick to our little Blue, who at just 10 years old bravely earned her very first spot at the barricade! Thank you, Gojira!

GOJIRA – Nice 8 december 2025 – setlist

Only Pain
The Axe
Backbone
Stranded
The Cell
Wisdom Comes
Flying Whales
From the Sky
Another World
Silvera
Mea culpa (Ah! Ça ira!) ([traditional] cover) (with Marina Viotti)
Born in Winter
Born for One Thing
Where Dragons Dwell / To Sirius / Ocean Planet / In the Wilderness (From Mars To Sirius medley)
The Chant (with Marina Viotti)
Amazonia

Encore:
L’enfant sauvage
Global Warming

Video courtesy of SWAN BOIS captured from the show:

Review: TESTAMENT – “PARA BELLUM” Album & Live Report: 18th October Show in Milan – Italy

Posted by tarjavirmakari on November 12, 2025
Posted in: Live Report, Reviews. Tagged: , . Leave a comment

Review & Live Report by Christian Tallone

Band: TESTAMENT
Album: “Para Bellum”
Release Date: 10th October 2025
Label: Nuclear Blast Records

October 10, 2025 — a date a lot of us were waiting for. Me included. Like a kid on Christmas Eve, I couldn’t wait to get my hands on my copy, and as soon as the clock hit midnight, I was already on YouTube blasting this new album from the Californian giants TESTAMENT, released via NUCLEAR BLAST.

It’s been five years since their last record — back in 2020, when they released the fantastic “Titans of Creation.” Since then, we’ve had to wait through the pandemic, a world tour, and some lineup changes behind the drum kit. So, the question is: was it worth the wait?

This is the band’s fourteenth studio album. Despite some bad luck, countless lineup changes, and the departure of the mighty Gene Hoglan (temporarily replaced live by the equally legendary Dave Lombardo), Testament have never rested on the laurels of their name. On the contrary, they’ve kept evolving — this time also thanks to the arrival of young drummer Chris Dovas, who has infused their forty-year legacy with fresh energy and a more modern approach — something many old-school thrash bands lack today.

As the saying goes, you shouldn’t judge a book by its cover — but once again, Testament have paid great attention to the artwork. The immensely talented Eliran Kantor, now a constant presence, handled the visuals, and Para Bellum’s cover (a prophetic title, given the state of the world) depicts a nuclear explosion and five men — presumably the band members — digging graves.

The album starts with no epic intro — just a drum roll that immediately tells you that what’s atomic here isn’t just the cover art.

“FOR THE LOVE OF PAIN” – 5 minutes and 30 seconds of pure fury. The song races like a train: tight rhythms, precise blast beats, and blackened guitar tones that plunge us into icy atmospheres before crushing us under classic American-style breakdowns. Chris is a hammer, and Steve Di Giorgio, with his fretless bass, complements him perfectly. His death-metal touch finds a perfect home here. Chuck sounds like a man in his twenties — his deep, cavernous growl paired with Eric Peterson’s screams delivers pure violence. Peterson’s rhythm guitar is razor-sharp, intertwining flawlessly with Alex Skolnick, who momentarily holds back his usual soloing flair on this opening track.

Before we can recover, we’re hit by “INFANTICIDE A.I.”, the first single released. Here Skolnick goes all out, holding nothing back. It’s a shorter track (3:25), but continues in the same vein — technical, furious, relentless from start to finish.

Then comes “SHADOW PEOPLE,” the second single. We return to a more familiar sound: a tribal drum intro, heavy mid-tempo riffs — this might be a breather for mosh pits live, but not for headbangers. After 2½ minutes, it explodes again with tempo changes and trademark Testament riffing. The highlight, though, is the chorus — Chuck’s voice gets stuck in your head and won’t let go through its full 5:46 runtime.

With “MEANT TO BE,” we get an unexpected surprise. Judging by the earlier songs, nobody saw a ballad coming — especially not as the fourth track (usually, those come in the album’s second half). Peterson’s acoustic guitar is vibrant beneath Alex’s melodic phrases, soon joined by Chris and Steve. The song features beautiful string arrangements by jazz musician Dave Eggar, who’s collaborated with Bon Jovi, Evanescence, The Who, and Cher, among others. The orchestral parts aren’t overwhelming — they add atmosphere and emotional depth.

Chuck astonishes once again with clean vocals — exceptional in the verses, slightly raspier in the chorus — showing great versatility. Personally, I love his clean tone and wish he’d use it more often. Meant to Be (the album’s longest track at 7:30) is one of my personal favorites.

Fifth track, “HIGH NOON, DEATH SOON,” kicks off with a roar reminiscent of Low or Demonic, backed by the sound of a rifle being loaded. Under pounding double bass drums, it tells stories of gunfights, saloon brawls, and death. The sound recalls the Gathering era — direct and powerful — much like the following track, “WITCH HUNT.” That one leans more toward death metal than thrash: tight rhythms, low-tuned guitars, and crushing brutality similar to “Stronghold” from Brotherhood of the Snake. Midway through, it opens up into more classic heavy metal territory, with intertwining solos — perhaps the most powerful track of this fourteenth chapter.

We near the end with “NATURE OF THE BEAST,” the seventh track — much more classic-sounding. Compared to the earlier songs, it almost feels like a different band. The sound recalls Souls of Black, with more heavy-metal-oriented rhythms and a more melodic Chuck Billy. The lyrics even feel like a tribute to Motörhead.

Next up is “ROOM 117,” built on solid, monolithic riffs with syncopated sections. Here Di Giorgio and Dovas shine, especially in the second half — 4 minutes and 20 seconds of pure spectacle.

Penultimate song: “HAVANA SYNDROME.” The title refers to the mysterious neurological symptoms — headaches, dizziness, nausea — that affected U.S. government personnel. The lyrics make direct reference to that, delivering pure thrash metal. Dovas’s ride cymbal is crisp, the picking ferocious, and the fast verses give way to open, breathing choruses. It’s another track that sticks in your head, with Skolnick once again proving he’s one of the best guitarists out there.

Finally, the title track “PARA BELLUM” closes the curtain — a six-and-a-half-minute onslaught that’s pure headbanging warfare. It contains every shade of Testament: death-metal bursts, double-bass assaults, mid-tempo grooves, blackened touches from the earlier songs — and a chorus that truly makes you want to prepare for war. A perfect live anthem, ending with an arpeggiated calm — the quiet after the storm, the ruins left by this atomic explosion.

CONCLUSION

What can we say about Para Bellum?

Ten tracks that encapsulate every facet of Testament’s sound across 50 minutes — tight, dynamic, and never dull. Overall, a strong album — 8/10. Expertly produced and performed. After all, the Oakland quintet has always been made up of thoroughbreds; there’s not a weak link here.

I call it a “good album” without overhyping it, because we’re talking about a band that, over 40 years of career, has already delivered true masterpieces — from The Legacy to The Gathering.

Testament have nothing left to prove — and they know it.

Special praise must go to Chris Dovas (born 1998) — despite being less than half the age of some of his bandmates, and carrying the heavy legacy of those who sat on that drum stool before him, he has not only proven phenomenal both live and on record, but also brought something new where it seemed nothing was left to add. He even contributed to the songwriting beyond just his drum parts — impressive indeed.

LIVE REPORT – 18th October 2025 at Live Club, Milan

I didn’t miss the chance to see them live — exactly eight days after the release of Para Bellum, on October 18, at the Live Club in Trezzo, with NERVOSA, DESTRUCTION, and OBITUARY for the epic “Thrash of the Titans.”

Chuck and the gang opened with the crushing “D.N.R. (Do Not Resuscitate)”, followed by “WWIII” and “Practice What You Preach.” The stage setup was great — including a huge inflatable figure reminiscent of Maiden’s 90s shows. Some might find it kitschy, but I absolutely love that stuff!

The guys — and I say “guys” because if we didn’t know their actual ages, that’s exactly what they look like — were in top form. They delivered a 15-song set, testing the new album live with the blazing “Infanticide A.I.” and the crushing “Shadow People.” They spanned their entire career, from Native Blood to Low, closing (as tradition demands) with “Electric Crown” and “Into the Pit.”

A lovely surprise: two ballads in the set — the classic “Return to Serenity” and the lesser-known but beautiful “Trail of Tears.”

A flawless performance in every aspect — sound, stage, musicianship — and Dovas once again proved his worth with an outstanding solo.

If there was one downside, it was the venue — nothing against the Live Club in Trezzo (it’s actually one of my favorite places), but perhaps it wasn’t quite big enough for an event of this magnitude, given it sold out — like many other tour dates — a month in advance.

Too bad for those who couldn’t get a ticket — they missed an unforgettable night. But I’m sure we’ll see them again this summer, stronger than ever!

Until then, let’s enjoy this latest work — before we all meet again INTO THE PIT!

Setlist:
D.N.R ( Do Not Resuscitate)
WWIII
Pratica What You Preach
Sins of Omissio
Native Blood
Trail of Tears
Low
More Than Meets the Eye
Drum solo
First Strike Is Deadly
Infanticide A.I
Shadow People
Return to Serenità
Electric Crown
Into the Pit

Live Report: LUPPOLO IN ROCK 2025, Sunday July 20th

Posted by tarjavirmakari on July 23, 2025
Posted in: Int. News, Live Report, News. Tagged: . Leave a comment

Photos + Report by Christian Tallone

After spending nearly 6 hours trapped in a car to travel just under 300 km (thanks, Italian highways), I seriously feared I’d have to give up on this day — the only one I could attend at this year’s Luppolo in Rock 2025. We ended up arriving at the Parco delle Colonie Padane about three hours late.

That little delay made us miss the opening bands: The Burning Dogma, Sexperience, and In Autumn.
I reached the stage just in time to catch the last two songs by the Cremona-based Embryo — too little, but enough to understand what they’re made of. A band I didn’t know but one that definitely deserves a deeper listen.

NECRODEATH

At 6:45 PM, the legendary NECRODEATH finally hit the sweltering Luppolo stage — a piece of Italian (and not only Italian) metal history.
Their backdrop displayed the debut album Into the Macabre, almost like a final glance toward the past, because yes — sadly — this is their farewell tour after 40 years. Personally, it feels like the end of a part of my life. I’ve followed them forever — we’re basically from the same area. I’ve seen them everywhere, from tiny now-defunct clubs in Genoa to various festivals, including one where they shared the stage with tonight’s headliner.

But enough nostalgia. Just half an hour and seven tracks:
They opened with “Hate and Scorn” and “Forever Slaves,” followed immediately by “Necrosadist,” “Whore of Salem,” “The Creature” (one of my favorites), and they wrapped up with “Storyteller of Lies” and “Mater Tenebrarum.”

A short but powerful performance from Flegias and the gang. It’s a pity such an important band had so little time — and were a bit penalized by the Candlemass meet & greet happening during their set.
But their tour isn’t over yet — I urge everyone: go see them before it’s too late!

INFECTED RAIN

After a longer-than-expected stage change due to technical issues, around 7:40 PM it was time for INFECTED RAIN from Moldova, performing their last date of this summer tour.

Fronted by the charismatic Lena, a real stage powerhouse who knows how to engage the crowd! Speaking perfect Italian, she fired up the Cremona crowd into moshing and circle pits.
She was backed by a massive groove from Alice’s bass, marking every drumbeat and darkening Vidick’s crushing guitar even more.

Songs included:
“Vivarium,” “Pandemonium”, and the set ended after about an hour with the beautiful “Sweet Sweet Lies.”
I saw them exactly a year ago — and I hope to see them again next year… maybe as headliners, not just at a festival.
But for now… it’s beer time before Coroner.

CORONER

At 8:40 PM, it was time for CORONER, highly anticipated by many. Active since 1983, the Swiss thrashers took over the stage with frontman and bassist Ron Royce leading the charge.
The stage setup was minimal — dominated by black and the band’s name.

A setlist moving from classics to newer material:
“Serpent Moves,” “Semtex Revolution,” “Die by My Hand.”
Forty years of history — from being Celtic Frost’s road crew, to their split-up, and then the 2010 reunion. A chance for old metalheads to see an iconic band — and for new generations to discover them.

The double kick drums were omnipresent under a dark, powerful sound — old school at its best! Also notable: Vidick from Infected Rain was on stage the whole time, taking photos (clearly fan #1).
An hour-long set for them too, ending as the sun went down, making way for Candlemass.

CANDLEMASS

9:45 PM… The sun sets, and CANDLEMASS arrives like a funeral march. Their logo on the backdrop is iconic — it gives you chills.

No introductions needed — we are in the presence of the kings of doom, the “Scandinavian Gods” (to quote one of their iconic tracks), arriving from Sweden to give us an unforgettable concert.

“Mirror Mirror”, “Solitude,” “Dark Are the Veils of Death”…
Lars Johansson’s guitar is precise, deep, dark. Johan’s voice is timeless. They transported us to another world.

You could write a book to describe the feelings at a Candlemass live show, but even just two words would suffice:
Another level.
Experience, legacy, atmosphere, power.

If you were there — lucky you.
If not… I’m sorry.

CRADLE OF FILTH

After nearly 30 minutes of stage change, the English vampires entered shortly after 11 PM.
A huge backdrop of “The Screaming of the Valkyries”, ghostly green lights, iron gates and ivy at the stage edges housed the gothic setup of drums and keyboards.

The visuals were great — though the drummer was completely hidden, so Martin Škaroupa was virtually invisible. But let’s be real… Cradle is Dani.

I honestly didn’t know what to expect — was I excited or worried?
I’m a huge fan of COF since their beginnings. If I could squeeze the walls of my teenage bedroom, you’d get every note from “The Principle of Evil Made Flesh” to “Midian.”
Then I drifted away — maybe due to lineup changes. I’m attached to the old lineup — Paul, Nicholas, Lecter.
That’s why I haven’t seen them live since 2000… 25 years!

The intro begins. Dani enters last, hooded, swaying toward his iconic mic stand.
“To Live Deliciously” kicks things off — devastating, fast, ferocious, and powerful as ever.
Zoe Marie’s blonde hair spinning behind the keyboards was the only bright spot in the darkness.

Then came “The Forest Whispers My Name” — and yes, the fan in me woke up.
They’re still them… the COF I’ve always loved.

Marek and Donny’s guitars synced perfectly.
Martin was a train.
Daniel’s bass shook the whole park.
A lineup worthy of replacing the old legends.

17 songs, but they flew by like it was just 5.
I don’t even know how long they played — I lost track. It felt too short, even if it probably wasn’t.

“The Principle of Evil Made Flesh,” “Burn in a Burial Gown,” “Nymphetamine”…
A fun unscripted moment — Dani left the stage to change and forgot to bring the mic back. A frantic tech ran to return it just in time. Dani’s face was a mix of “what’s going on?” and “what the hell are you doing here?”

Then:
“White Hellebore,” “The Creature That Kissed in Cold Mirrors”, and for the encores — a glorious throwback:

“Cruelty Brought Thee Orchids,” “Death Magick for Adepts,” “Her Ghost in the Fog” — featuring a mysterious masked man joining for backing vocals — and finally, the “Outro.”

And so ends the day.
COF did not disappoint — most of the audience was clearly there for them.
They gave us a killer concert and a perfectly balanced setlist.

I would’ve loved to hear “Dusk and Her Embrace,” but hey… you can’t have everything.
A great show as always!

CONCLUSION

I want to end this live report by dedicating a few words to those more important than any band that graced this stage, this year and in past editions:

The organization and full staff of Luppolo in Rock!
Thank you for creating the coolest metal festival in Italy.
Everything was top-notch: free parking, no BS like “gold seating” or exclusive areas — just like the old days.
We’re metalheads — we’re all brothers!

Free and open meet & greets (I can’t stand when autographs or photos cost money).
The chance to buy blind tickets for next year at a fantastic price — sure, we don’t know who’ll play, but has anyone ever been disappointed so far?

And let’s not forget…
THERE’S BEER!!! 🍻

See you next year — because one thing is certain:
It’s going to be epic all over again!

Live Report: ANTHRAX + KREATOR + TESTAMENT at Alcatraz, Milan – December 6th, 2024

Posted by tarjavirmakari on December 11, 2024
Posted in: Int. News, Live Report, News. Tagged: , , . Leave a comment

Live report by Christian Tallone – Photos by Fabrizia Cameretti + Christian Tallone

Tonight is the Night!

Tonight marked an event eagerly anticipated for months—a truly historic evening. Three colossal bands in one night promised an unforgettable experience, and it delivered in full. The show had been sold out for two weeks already (as were many other dates on the tour), featuring two overseas giants, ANTHRAX and TESTAMENT, sharing the stage with the German legends KREATOR.

We left sunny Liguria early in the morning, hoping to avoid the usual highway mishaps and secure a parking spot—a wise decision, as it turned out. Arriving in front of ALCATRAZ at 2 PM, we were greeted by a queue that had already formed at 6 AM, even though doors were scheduled to open at 5:30 PM. Nearby was another line for an Anthrax meet-and-greet, where we spotted a few brave fans dressed more for photos with Joey Belladonna than for Milan’s chilly December air. Passion knows no bounds, of course.

Fortunately, we found refuge in a nearby bar, where a medium-sized beer and The Gathering playing over the speakers kept us warm and entertained until it was time to head back to the venue.

At exactly 5:30 PM, the doors opened. We greeted familiar faces, made our way to the photo pit, and settled in. By 6:30 PM, TESTAMENT kicked off what promised to be an evening of pure thrash metal bliss.

TESTAMENT:

The lights went out, and a familiar yet unexpected anthem blasted through the speakers—”(You Gotta) Fight for Your Right (To Party!)” by Beastie Boys. The party vibe quickly gave way to Testament’s thunderous opening with “D.N.R.” followed by the relentless “3 Days in Darkness”.

The San Francisco quintet, led by the immense Chuck Billy, was as solid as ever. Billy’s voice roared with the same power as in his prime, while Alex Skolnick and Eric Peterson’s guitars meshed seamlessly. Steve Di Giorgio’s bass was the band’s driving force, shaking even the foundations of the Duomo.

Newcomer Chris Dovas (of Seven Spires) had the unenviable task of stepping into the shoes of legends like Gene Hoglan and Dave Lombardo. But the young drummer proved more than capable, delivering precision, speed, and power that did justice to his predecessors.

The stage setup was grand, even for a venue of this size. Dovas’ drum kit was elevated, flanked by a dramatic backdrop of infernal scenes created by the talented Eliran Kantor, Testament’s longtime album cover artist.

With just an hour to perform, the band delivered a blistering 12-song set, including highlights like “Children of the Next Level”, “The Formation of Damnation”, “Return to Serenity” and “Low”—a personal favorite from the first Testament album I bought as a kid. The crowd erupted for “More Than Meets the Eye”, and the set ended with a bang as “Into the Pit” sent bodies flying above our heads.

Sixty minutes flew by in a storm of plectrums, smiles, and pure thrash energy. Testament’s performance left the audience primed and ready for Kreator.

KREATOR:

At 8 PM, after a quick stage change, it was time for KREATOR—a band I’d waited over 20 years to see live again. As the speakers played Iron Maiden’s “Run to the Hills” (a bittersweet prelude given the news of Nicko McBrain’s retirement announced later that evening), the intro “Sergio Corbucci Is Dead” led into the ferocious “Hate Über Alles”.

A black banner fell, revealing a jaw-dropping stage setup featuring three massive demons, impaled puppets, pyro effects, and dramatic lighting. The German thrash icons wasted no time, delivering an unrelenting set.

Jürgen Reil’s drumming was a relentless barrage, supported by Frédéric Leclercq’s commanding basslines. Mille Petrozza, ever the charismatic frontman, led the crowd in chanting “HATE ÜBER ALLES”, while Sami Yli-Sirniö executed his solos with surgical precision.

The night was a whirlwind of classics and newer anthems, including “Phantom Antichrist”, “Enemy of God” and “Hordes of Chaos”. Confetti rained down, circle pits spun endlessly, while 3 fans were carried away by Red Cross volunteers.

From “Betrayer” and “Satan Is Real” to the ferocious finale of “Violent Revolution” and “Pleasure to Kill”, Kreator delivered 17 blistering tracks that left the crowd in awe. Though I had hoped to hear “Voices of the Dead”, the setlist was nothing short of perfection.

As the recorded outro “Apocalypticon” played, I vowed never to let so many years pass before seeing Kreator live again.

ANTHRAX:

Unfortunately, due to time constraints, we had to leave before Anthrax took the stage. Their performance surely would have capped off an already spectacular evening.

As we drove home, a bittersweet feeling lingered—like the end of a beautiful vacation. But the night’s energy and memories kept us company, and Anthrax accompanied us on the stereo for the return trip. Now, we wait eagerly for the next concert.

What an amazing experience!

Live Report: W.A.S.P. + ARMORED SAINT at Ryman Auditorium, Nashville, Tennessee November 26th 2024

Posted by tarjavirmakari on November 29, 2024
Posted in: Live Report. Tagged: , . Leave a comment

Live report and photos by Erik Hernandez

The night began like so many I’ve done. Standing in line, talking with fans, explaining why I have my camera bag, and realizing that the music, and bands I love are still loved by so many others. It was cold as we stood in line talking about memories of our favorite shows, and the memorabilia we have collected over the years.

My credentials arrived, and I was ready to enter the venue and upon entry the vibe was pure electric. So many friends in the business were there and it was great catching up with everyone as we waited for the show to begin.

Up first was ARMORED SAINT. Emerging onto the Los Angeles Heavy Metal scene in 1982 and have released 8 studio records, and two live records. The band has had the same lineup since 1990. That is nearly unheard of today in the music business.

John Bush and crew took the stage, and the crowd instantly ate it up. The band was tight and strong! Their energy was contagious. Fans were on their feet with horns held high. I must admit, I hadn’t seen the band in decades, and I don’t like to view videos before I shoot a band. They performed as if it was their last set ever. Later in the show, Bush took to the crowd. In the upper balcony, he handed out fist bumps to eager fans waiting to just get close to the charismatic singer. He then mingled among the lower deck crowd giving the same love to those fans that had stood by them for decades. The band ended their night with the same thunderous energy as they opened with. If you have any doubts about seeing the band, rest easy my metal friends, Armored Saint can hang with the very best. I left the setlist out for a reason, GO SEE this well-oiled machine, you will not be disappointed!

Next up was W.A.S.P. They came this time to perform their 1984 debut record in its entirety. Another band that emerged onto the Los Angeles Heavy Metal scene in 1982. They immediately gained notoriety for their shock image and blues infused straight forward rock n roll based Heavy Metal. With songs like I Wanna Be Somebody, School Daze, Sleeping in the Fire, and L.O.V.E. Machine, the band solidified their spot among the very best Los Angeles had to offer.

This night was like stepping back in time. One only had to close their eyes to be transported back to those days when the world was filled with electricity and heavy metal riffs. The V.I.P. fans were in the crowd clutching their prized signed items from meeting Blackie before the show. Blackie sounds amazing and it was so good to see him on his feet and lively. He did not disappoint. With his signature mic stand Elvis, being an extension at times of the formidable frontman. He, along with his brothers in W.A.S.P. delivered a set that mirrored those of the 80’s. It has been said that heavy Metal is dead, all I can tell you is to get your tickets and see for yourself. It is very much alive and well and this show will have you ‘On your Knees’ begging to go back to those ‘School Daze’! W.A.S.P. is bringing their A game, proving to all that W.A.S.P.’s ‘Torture never Stops’.

Thank you to:
W.A.S.P.: Blackie Lawless, Doug Blair, Mike Duda, and Aquiles Priester
ARMORED SAINT: John Bush, Joey Vera, Jeff Duncan, Phil Sandoval, and Gonzo Sandoval

Live Report – GENOVA SUMMER FESTIVAL 2024 – July 6th 2024 – Genoa, Italy

Posted by tarjavirmakari on July 10, 2024
Posted in: Int. News, Live Report, News. Tagged: , , , , , , , . Leave a comment
Headliner CARCASS onstage

Live report by Christian Tallone – Photos by Christian Tallone + Marco Pili

Saturday, July 6, 2024, a date I eagerly and curiously awaited since the event was announced, and honestly, with a bit of anxiety due to the fact that summer had been very late to arrive this year, and the risk of everything being ruined by bad weather was looming. Fortunately, however, a beautiful sunny day shines on Genoa’s old port, and already in the early afternoon, you can see black t-shirts emerging, from those of veterans like Testament, Slayer, Venom, etc., to many new recruits, lots of teens, and little metalheads accompanied by wise dads.

At 5:00 PM sharp, as scheduled, the gates of the sea arena open, and the rush to the barricades begins, giving those without a ticket half an hour to get one because the dances start at 6:00 PM.

SLUG GORE – 6 PM

Setlist – see the photo

At precisely 6:00 PM, SLUG GORE begins, but unfortunately, many of the attendees, myself included, miss the first few songs because we are still stuck at the ticket/accreditation office. However, I manage to catch the final part of their set, which ultimately lasts only 20 minutes. The guys from Ravenna warm our ears with some powerful death metal, with frontman Poldo and company hammering away splendidly. I’m happy to see Danny Metal in action on the drums, a YouTuber I’ve been following for a while. Old B-movie monster films serve as a backdrop. They finish with a cover of Gluch’s “Grounded by Slugs.” Unfortunately, due to the early hour and their brief time slot, there aren’t many people yet, but for the little I saw and heard, I liked them, and I hope to see them live again soon.

NECROART – 6:30 PM

After a quick stage change, it’s time for another local band, NECROART, active since 1999 with a long career and tours with giants like Rotting Christ, whom I personally adore. They bring a breath of melodic death metal to Genoa’s sea, sometimes symphonic but also very dark and decadent. Their atmospheres remind me a lot of Moonspell. Charismatic Max knows how to engage the audience, starting with “Withered”, a fresh new piece, followed by “An Invocation for the Horned”, “Son of Worms” and closing with “Lamma Sabactani”. Their set, unfortunately, is also brief, just half an hour, but they masterfully use it to leave a mark, theatrical, violent, dark, and melodic. In such a short time, they show all their nuances, a high-level band that I’ll gladly delve into more.

Setlist:

  1. Withered (new single via Nadir)
  2. An Invocation for the Horned
  3. Son of Worms
  4. Lamma Sabactani

NODE – 7:05 PM

Setlist – see the photo

A slightly longer stage change, used to grab a beer, and then back under the stage to wait for NODE, an Italian excellence active since 1994, celebrating their 30th anniversary today. Despite this, it’s my first time seeing them, so far. They open with the powerful “The Sacred Theater of Nothingness”, but for the first 30 seconds, there’s no sound due to a technical issue that is promptly resolved, giving them a notch more volume than the previous bands. The four priests are in great form, guitarist Gabriele and drummer Pietro are impeccable, while Dave and the historic member Gary are the true leaders, loving what they do and transmitting it to an audience that has visibly grown an hour after opening. Unfortunately, their time is also short, with only five songs on the setlist, but they don’t let up for a second, their style shifting from thrash to death, perhaps due to the multiple lineup changes over the years. They end with the final blow, “Life on Display”, and it’s a shame it’s over already… but my neck thanks them. Great NODE!

FULCI – 7:40 PM

At 7:40 PM, it’s FULCI’s turn, another Italian band named after the famous director Lucio Fulci (hence the tribute with the song “Zombi 2”, which they can’t play despite being on the setlist, perhaps due to time constraints). In recent years, they’ve made their way violently with their death/grind in the national scene. I didn’t know them well, but I started researching them as soon as I saw them on the program, and my curiosity grew noticing they have a strong following. Many were there for them, and I understood why as soon as they took the stage. Like SLUG GORE, they delight our eyes with horror and splatter footage, blood, and autopsies perfectly blending with their fast and brutal music. Here the situation gets more serious, with 12 pieces on the setlist, starting with “Glass”, then “Rotten Apple”. Edo’s drumming is a real bone-crushing blender, the bass and guitars deep and dark, and Fiore’s voice is truly talented, a growl that seems to come from the depths of the earth. They conclude after about 40 minutes of brutality with “Eye Full of Maggots”.

Setlist:

  1. Glass
  2. Rotten Apple
  3. Apocalypse Zombie
  4. Lonely Hearts
  5. Splatter Fatality
  6. Voodoo Gore Ritual
  7. Tropical Sun
  8. Among the Walking Dead
  9. Matul Tribal Cult
  10. Legion of the Resurrected
  11. Nightmare
  12. Eye Full of Maggots
  13. Zombi 2

SADIST – 8:40 – PM

Setlist – see the photo

At 8:40 PM, it’s SADIST… eight years to see one of the most anticipated bands of this festival on stage again, not only Italian but Genoese, led by Trevor, who is also part of the event’s organization. He put his heart into it, dedicating part of their show to thanking everyone. They open with “One Thousand Memories”, the SADIST logo fixed on the screen, the excellent drumming of new entry Giorgio Piva meshes for this special tribal show with the percussion rhythms of the historic Oinos. Nine tracks that retrace the band’s career, “Season in Silence”, “Perversion Lust Orgasm”, well-blended sounds, perhaps only the guitar a bit low at the beginning, but then everything seems to balance out, maybe also depending on my position. Trevor is an exceptional frontman and entertainer, their show flows smoothly and quickly, and the audience goes wild under the heavy notes of “Escogido” from 1996, passing through the new “Accabadora”. I’ve been waiting a long time to see SADIST live again, and they did not disappoint anyone’s expectations. They say goodbye to the Genoese audience with “Tribe”, as great as always… now we await Infected Rain.

INFECTED RAIN – 9:45 PM

At 9:45 PM, directly from Moldova, it’s time for Infected Rain, the first non-Italian band to take this stage, although to my great surprise, I discover they speak our language very well. The guys are having enormous success and are bouncing from corner to corner of the planet. A group that intrigued me for a long time, I couldn’t quite pin them down, so I devoured many live videos (thank you, YouTube… we used to wait for something to be shown on TV, and it was practically science fiction) to prepare myself for what I would see. They are the first and only band of the day that can be said to be “for everyone”… very groovy, solid and powerful yet very melodic… they stray far from the style of all the other bands of the day. It’s undeniable that the presence of Lena and Alice is noticeable… they make an impression. Eugene’s drumming is very precise, each hit resonates in your stomach, Vidik on guitar never stays still for a second, almost impossible to photograph him, Alice makes the whole stage vibrate with headbanging, and Lena switches from a fierce growl to clean and melodic singing with great naturalness. She speaks Italian to the audience, thanks them for their support, and engages them, something I personally liked a lot. She didn’t put a wall up with the fans by acting like a superstar; on the contrary, she showed great humility, earning a lot of points from me. “A Second or a Thousand Years” starts the dances, then moving on to “The Realm of Chaos” and “Pandemonium”. By now, night has fallen, and the atmosphere has started to change, the arena is almost full, and many are there for them. Even the passengers on departing ships could enjoy a moment of their performance, with the stage set about 20 meters from the water. It was nice to see people waving from the decks and dancing to Infected Rain. “The Answer is You”, “Paura”, “Orphan Soul”, ending after about an hour with the beautiful “Sweet, Sweet Lies”. In conclusion, their sound impact is devastating, their scenic impact remarkable, a live show I’d gladly see again! Greatly approved!

Setlist:

  1. A Second or a Thousand Years
  2. The Realm of Chaos
  3. Pandemonium
  4. Vivarium
  5. The Answer is You
  6. Dying Light
  7. Never to Return
  8. Because I Let You
  9. Enmity
  10. Sweet, Sweet Lies

CARCASS – 10:45 PM

Setlist not available

At around 10:45 PM, CARCASS takes the stage. Introducing the English quartet is almost unnecessary; we are in the presence of true giants. This is the fourth time I’ve seen them live, but the first as headliners. Despite this, they are not a band known for elaborate stage setups; the classic lights and screen that play their iconic and unmistakable backgrounds, familiar to all Carcass fans, are sufficient. Nothing else is needed. They are enough, imposing. Jeff Walker looks like a devil on the edge of hell; his voice is pure ferocity. Drummer Daniel Wilding is frighteningly precise and fast. Bill Steer, with his distinctive bell-bottom pants, plays with the natural ease of someone born to do it, and his partner on strings, Nippy Blakford, is no less impressive.

I couldn’t retrieve the setlist, but many songs are so ingrained in our heads that, in the end, do we really need it? They open powerfully and malevolently with “Buried Dreams,” followed by “Keep on Rotting,” “Arbeit Macht Fleisch,” and “Heartwork.” They give us about an hour and 20 minutes of music, totaling at least 15 songs that practically everyone sings along with them to catch their breath from the mosh pits, or maybe they mosh to catch their breath from singing… who knows.

What’s certain is that CARCASS is a guarantee. Everyone was waiting for them, everyone wanted them, and everyone got exactly what they expected: a show worthy of their name. They deserve a book, not just a few lines of a live report. Honestly, more than praises, I wouldn’t know what else to say. CARCASS must be experienced, not read about… and if any of you haven’t done so yet… well, stay alert and don’t miss the next opportunity. A few minutes before midnight, they bid us farewell with a video of “drive-in” style dancers that made me laugh out loud. IMMENSE, PERIOD!

CONCLUSION:
I’d like to say a few words about this event. It had been years since I had seen a metal concert of this scale in Genoa, and as a Ligurian, I can say I was truly astonished. The location is large but not immense, impeccable services, excellent beer, friendly staff, and, above all, a fantastic stage! Congratulations to Trevor and all the organizers! In the beautiful setting of the old port, which is already wonderful to experience pre- and post-concert, there is no shortage of parking, and there are bars and restaurants nearby for all tastes… everything was perfect, I’d say.

A festival that was a true success, and so I can be sure that the next edition of the Genoa Summer Festival will be one of the key events for us genre lovers! Congratulations again to everyone… from the bands to the staff! See you next year!