As the Montreal nights get colder, so grows my desire to hop into something cozy, make some tea, and put on a relaxing record. Unfortunately, my turntable’s broken, and I don’t even own a kettle. So, I guess it was off to my favourite bar in the world on a Monday night for my second favourite winter activity. It was my first metal show since I moved to the city, and Montreal’s heavy music scene is half the reason I came here. So, as I noticed three separate double-kick drumsets waiting in the wings, I readied myself for a triple threat of badass all-American metal at Foufs.
Up first was Oakland, CA’s Hatriot. Perfect band name, no notes. Despite kicking their set off with a kind of corny sample with a turned back and raised fist, their material shattered any doubt of mediocrity when they turned back around. Blistering riffs and pounding drums echoed through the sparse crowd, as did busy basslines courtesy of their frontman, whose upper register was reminiscent of Steve Souza. A comparison I drew before learning that Souza himself actually founded this band and that the current lead vocalist is his son, Cody Souza. Funny thing, that. Cody more than honoured his father’s legacy and added a few gutturals to accompany his thunderous bass riffs. Hatriot were a total shot of adrenaline to anyone within spitting distance of the stage and had me hyped for what else the night was going to throw my way.
Up next was Generation Kill, and right off the bat, they were poised to offer a different flavour of metal than Hatriot. Bigger dudes? Check. Less hair combined than any single member of the headliners? Check. The sigh Rangers jerseys? Yep. The NYHC influences bled through Generation Kill’s music and stage presence, offering a healthy dose of moshable crossover thrash. Among the setlist’s heavy hitters were a few slower, sentimental moments, which made each return to form pack a harder punch, even with the odd technical issue. I’d be remiss not to mention their cover of “Children Of A Worthless God” from frontman Rob Dukes’ tenure in Exodus, which the whole band crushed. The set ripped, though I’m sure they didn’t win any extra points for publicly dunking on the Habs’ atrocious season. I guess if you sang in Exodus for a decade, though, you get a pass. The crowd obviously didn’t take it to heart, as Dukes could be seen happily taking photos with dozens of fans after their set.
With their first new album in nearly 6 years under their wings, Exmortus took the stage next. I was blown away by their set back in 2017 when they opened for Havok in Toronto, and tonight served as a good reminder why. These boys can shred. Harmonized riffs and solos are my weakness, and Exmortus had it in spades. Admittedly, the crowd was a bit more sober and mild-mannered than I would have expected for a headliner, but I suppose Monday will do its thing. Exmortus frontman Jadran Gonzalez was gracious in his addressings of the crowd, though, thanking them for supporting the band’s first headlining gig in the city, and throwing in some French terms to boot. He introduced songs as a conductor would an orchestra’s next piece and the band’s classical influences certainly shine in a live setting, made apparent by a thrashy retelling of a Vivaldi piece from their new record. Gonzalez’s and Chase Becker’s soaring guitar chemistry never came to a halt. Whether it be while paying tribute to Ozzy, to Boston, or gracing the audience with their original material, the night proved that I can listen to this duo for hours, especially when they entangle in their iconic human shred pretzel.
Review – Mathieu Perrier
