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From the 94-99 era of Iron Maiden. 

Blaze Bayley was truly an interesting headliner, hailing from the United Kingdom, Blaze brought some flare to Montreal as he stepped on to the stage. 

Showcasing the Infinite Entanglement Series, along with a few classics from his back catalogue, Blaze sure knows how to please a crowd and get them energetic and moving. Singing along to shreddy guitar melodies and solos, it was almost, but not quite, an Iron Maiden concert in a small bar. I will always remember the fact that Blaze Bayley almost spat on me as he gave a aggressive stare, shouting aggressively i'm Blaze f*king Bayley! 

It caught me off guard, making me almost afraid of his menacing face, but I know it was all part of the show. 

They had a few technical problems during “Lord of the Flies” when the guitar cut out, but managed to save themselves, handling it professionally. Although, I don't know if it was because of stage antics and hijinks they were pulling off, but the chemestry of the band was definitely strong: they looked like they were having fun. 

The energy of the band was crazy: I’ve never seen such a highly energetic band who have been in the showbiz for a long time. They’ve still got it, especially during the maiden songs and earlier Blaze songs. However, due to repetitiveness around the middle of the show, I became tired and wanted something more aggressive and fast: my pleas were heard and it picked up again. 

Near the end of the show, I saw the art and appreciation that Blaze Bayley puts into his shows. You can forget the outside and focus what's happening in the music. Overall, I enjoyed the show and was wondering to myself what I could have seen if I was born to witness Blaze Bayley as the old iron maiden singer: well now I know.

Dissymmetry is a brand new up and coming power metal band, fronted by Agender Guitarist Ace Baldwin. They promised so much potential in this new slew of local bands that are up and coming in the montreal scene: seeing their launch show last month at Turbo Haus, I was generally impressed. 

Seeing them again for a second time, opening for Blaze Bayley, was exhilarating and fresh. Not only did Dissymmetry give us crunching, blistering guitar solos and headbaging riffs, but something new, fresh and original that has not been thrown on the table before. I really enjoyed a lot of their set, and they have so much potential as a band, so hopefully they follow it into their future. 

Thrash la Raine was an interesting and weird combination: I hadn’t heard french metal in a while, yet their sound was similar to a band like Tribunal. Their songs ranged in subject from the plains of Abraham in Quebec, to dragons: this band has it all. I honestly don't know if this is a side project of some other band, but it was fun and enjoyable to watch.

Second to last up was Fractal Cypher, who I was most looking forward too the most. Building up to the show, I listened to them excessively at the gym, which made me even more pumped to hear them live. Throughout their performance, I was in awe of how much technicality they had as a band. They were really tight and delivered a promising show. Their launch show was a few months ago, where I only managed to catch 4 songs before I had to go home, but this time I was in for the full ride. Honestly it was worth seeing Fractal Cypher in this venue alone, showcasing much of their two current albums 'The Human Paradox' and now recently released 'A Prelude to an impending outcome'. 

Set List: 

1. “From the above and to the stars”

2. “Final Abode”

3. “Grandeur of it all”

4. “Idle Words”

5. “Lost”

Phil Aveline - Host of Turn On The Darkness , Wednesday at 2 p.m.

Our favourite dog-loving assassin is hitting the big screen once again with more fights, more blood and even more dogs. John Wick: Chapter 3 - Parabellum is the third installment in the John Wick series starring Keanu Reeves, Ian McShane, Halle Berry, Laurence Fishburne and Mark Dacascos. 

After being deemed “ex-communicado” by the High Table, a council of high-level crime lords,  for killing one of their members, John Wick (Reeves) must fight for his life as eager assassins try to claim the $14 million bounty on his head. Chad Stahelski returns to direct and Derek Kolstad to pen the script with help from Shay Hatten, Chris Collins and Marc Abrams.

As the third instalment in Wicki-verse, the film did not disappoint in expanding the vast crime underworld. Viewers get a history lesson into the untraceable currency that drives the underworld and are introduced to interesting characters that are associated with the High Table. We also learn a little more about our titular character as he meets with old friends to cash in favours. 

While some people are excited to learn more about the world that the films take place in, most viewers come for the action. The fight choreography in this film did not disappoint, while there were some fight scenes that seemed to linger longer than they should have, they were still entertaining. Most scenes that displayed hand-to-hand combat kept the audience engaged. The gun choreography was great to watch, with some comedic moments, especially when characters needed to reload. 

The acting in the film was spot on, with Reeves maintaining the stoic performance as Wick. Halle Berry, who portrayed Wick’s old friend Shay, was a new edition to the cast along with Mark Dacascos, who portrayed a fellow assassin Zero, and Asia Kate Dillon, the Adjudicator.

There weren’t any stand out performances, but everyone was entertaining in their role: each character had their moment to shine. 

Check out John Wick: Chapter 3 - Parabellum in theatres Friday, May 17th!

Fans of Cajun, Irish fiddle and Quebec Folk will be able to find musical solace in Jabbour’s most recent studio effort. The Montréal quartet—which is currently composed of Guillaume Jabbour, Bill Collier, Bill Gossage and Carl Rufh—released Saint-Bernard on May 12, which serves as the follow-up to their 2016 debut Round The Clock. This new record features 14 new tracks, with 12 originals and 2 covers that are guaranteed to feel like a trip back in time through a distinctive sound that combines a contemporary musical arrangement and colourful storytelling. 

Produced by veteran drummer John McColgan, the band benefitted from his wisdom, as they were destined to make a great product from the get-go. What’s more, the album features several guest appearances on violin, accordion and percussions by local musicians who complement the already seasoned collective that makes Jabbour. Together, they combine their strengths to create the songs featured on Saint-Bernard. The album title, according to frontman Guillaume Jabbour, was inspired by an elderly man named Bernard and his daughter the group met while on tour in Clare, Nova Scotia.   

The songs are rich in content and serve as vehicles to take listeners to another time and place. The second track ‘’ Sur Une Montagne’’ is an opportunity to escape to the Quebec Laurentians; the Simon River in Morin Heights can be heard in the background and Jabbour’s lyrics contain various references known to the Montreal collective imagination, something local listeners are likely to enjoy. The title track ‘’ la canne de Bernard’’ tells the powerful story of an aging man who looks back at his life with nostalgia. The violin’s bluesy licks accompanied with the guitar on drop D tuning give the song space to breathe, thus giving it more depth and making it arguably the magnum opus on this album. 

Other standout tracks in Saint-Bernard include: the upbeat ‘’La Job’’, which is a fun two-step; the simple yet effective ode to childhood “Everywhere Wild” and the chansonnier standard “Les Fruits” feels like it’s straight out of a 1920s movie set and is bound to be a bittersweet favourite.

The two featured covers pay homage to Quebec folk legends Jean-Pierre Ferland and Gilles Vigneault, by keeping the integrity of the songs and arranging them in a way that blends seamlessly with the original tracks.

In all, Saint-Bernard will captivate listeners with its tasteful and easy-listening tunes. A perfect combination of skilled musicians and a gift for storytelling is the winning formula for this quartet, and they use that to take us in a brilliant voyage in time.

Long Shot: Good for a few laughs 

Letterboxed Review “Long Live Stick Man”

    If you have ever seen a Seth Rogen comedy, you already know the formula. Rogen plays a loveable goofball along side a leading lady. You would never see them being relationship material. There is a situation in the film that normally involves the characters of Rogan learning to grow and become an adult. Along the way, you get the Off-colour adult humour that you come to associate with his films: the one that leaves the audience members in side splits or groaning. So, the stage is already set for Long Shot from director Jonathan Levine. Starring opposite Rogen’s goofiness, Charlize Theron balances the film with her strong presence.

    Jumping right away into the Trump climate of politics, Fred Flarsky (Seth Rogen) is a journalist for a liberal independent news paper. When his newspaper is bought by a Roger Ailes type republican media mogul, Parker Wimbly (Andy Serkis), Flarsky quits on the spot. Having just quit his job he spends the day with his best friend Lance (O’Shea Jackson Jr) and ends up at an evening black tie event, underdressed in street clothing, with Boys 2 Men performing. At the event, he runs into Secretary of State Charlotte Field (Charlize Theron), who used to babysit a young Flarsky. Turns out that Charlotte has bigger ambitions of running for the presidency. President Chambers (Bob Odenkirk) is not seeking re-election and endorses Charlotte. In need of a speech writer with some comedy and some relevance, Charlotte turns to an unemployed Flarsky. Seen as the underdog and out of place, Flarsky proves himself in his work, and sparks fly in his relationship with Charlotte.  There are, however, political grenades that try to put a wrench the relationship. 

    Jonathan Levine sets the right tone of comedy for this film, in contrast to his previous comedy work, like Snatched from 2017. As opposed to some of the other leading women who have worked alongside Rogen’s comedy stick, Theron has some fun, particularly when drugs are introduced into the mix. However I feel that Theron has to conform to the off-colour humour not found in her other dramatic works, which seems out of character for her. Levine, having previously directed Rogen in 50/50 and The Night Before, uses his Off-Colour humour to it’s fullest potential, adding more physical comedy to Rogen’s repertoire of gags. The political satire of the film works: as much as we want to believe in the unromantic Hollywood romance, Rogen and Theron sell it. 

3/5