A Conversation with Black Budget

It’s been a while since I sat down with a band for a convo. Today we shoot the breeze with a Desert Punk/Metal trio from Toronto, Ontario by the name of Black Budget. I recently reviewed their EP, Crown of Misery, which just came out on September 23^rd.

Harbinger of D.O.O.M.: Congrats on the latest EP! I’m curious, what makes a band choose whether they release an EP or an LP? Is it to get a shorter set of songs out faster to the listeners or because it’s more convenient to record EPs rather than LPs?

Black Budget: Thank you for having us! The main reason we went the EP route is because these are the songs that we think best define us at this current time. We are constantly writing, working out songs in rehearsal, and seeing how the audience reacts to them. Singles and EPs are definitely more in our alley right now as we are a new-ish band. We aren’t signed and can basically put out music whenever we want with nobody telling us what to do. A Full-Length album is absolutely something we will do in the future though and I am looking forward to that.

Harbinger of D.O.O.M.: Black Budget’s been around for about two years, having formed in 2020. How did you all meet and how did you come together?

Black Budget: Jack and I (Pedro) met in fifth grade, and we’ve been jamming ever since high school together. We met Michael in a previous band we were in. When that band went their separate ways during early COVID days, I had a few songs written and recorded so I took them to the guys and we played those, and eventually we formed into the Black Budget you see today.

Harbinger of D.O.O.M.: What’s the music scene like in Toronto? Is Desert Punk the next hot genre that will rule the bars and clubs?

Black Budget: Desert Punk will reach the arenas and take over the world! The music scene in Toronto is GREAT. There is so much incredible talent, and you can basically walk in to any bar/club and see some incredible musicians. It’s an honour to be part of this music scene, everyone is very supportive of each other and there is a strong sense of community.

Harbinger of D.O.O.M.: You guys sound like you have a lot of diverse influences in your musical palette. How did you decide which direction to take musically with Crown of Misery and what genres/bands have influenced you the most collectively?

Black Budget: We are inspired by so many different types of artists that when we come together and play, it all blends to this “desert punk” thing. We usually work songs out in rehearsal as a trio and let whatever happens happen. We are lucky to constantly be performing live, so the best is trying out new songs and seeing how the crowd reacts. We make sure we are always playing to the song and not the genre, which is why some of our songs are very different. If you listen to “Stuck in The Desert” and “Detonator” they are very different styles, but both could be added to the same playlist. Michael brought a lot of his 80s/90s hardcore punk and metal influence to the table on “Detonator” and “Acid Tongue”. With these tracks in particular you get equal parts speed, energy, power and sludge from later period Black Flag and Melvins for sure. “May 19^th”, and “Talk” were songs that I had written a while back, but if you hear the demos they are so different from what they became in the final recording. Inspired by bands like Green Day, Queens of The Stone Age, and Nirvana.

Harbinger of D.O.O.M.: Do you plan to tour in the coming weeks/months to support Crown of Misery? If so, will you stay in and around Ontario or head South of the border as well?

Black Budget: We have a few shows planned in Ontario and a fun Halloween night show that I am super stoked for. Would LOVE to play south of the border. We recently played with a band from Brooklyn here in Toronto who were killer, and we’d love to play there. Austin, NYC, Seattle, Chicago, LA are all places in our radar!

Harbinger of D.O.O.M.: Thanks for answering my questions! I wish you a lot of success with the EP. Is there anything else you’d like to share with the listeners/readers?

Black Budget: Thank you so much for having us! We put our hearts into this EP and we are so happy to know people are enjoying it. I’d love to give a shout out to our friends in Lucid Smog Disorder, Wednesday Bender, AAWKS, Sunlust, By Octopi. They are incredible local bands who everyone should be checking out. Also, a massive shout out to Critical Zero, a local Music Media group who hosted us at their event for our EP release show. That was a blast!

Black Budget’s Official Website

Black Budget on Bandcamp

Black Budget on Twitter

Black Budget on Facebook

Black Budget on Instagram

Black Budget on YouTube

Canuck Spotlight: Razor

Every now and then a band makes a comeback after many years and sometimes even decades of being gone. Razor is a Canadian thrash metal band from Ontario that put out a bunch of great albums in the ‘80s and ‘90s. Their last record, Decibels, came out in 1997. Twenty-five years later, they returned this past Friday with Cycle of Contempt via genre label Relapse Records. Founding members Dave Carlo (guitars) and Mike Campagnolo (bass) are part of the lineup along with long-time singer Bob Reid, and Rider Johnson on Drums. This is a band whose name fits them to a T, ferocious and relentless.

I’ve seen a lot of negative comments from the online metal community regarding Cycle of Contempt over the weekend. I’ve only had time to listen to the album twice, but I liked it even more on the second spin. While it’s not a masterpiece, I think it’s a terrific album with the better part of the 12 songs ranging from good to great. That’s a damn good average if I do say so myself! What were fans expecting? I mean it rarely happens that a band can conjure up the magic and vitality they had in their heyday. Just look at Megadeth’s latest, The Sick, The Dying…; it’s a great album but it’s not on the same level as, say, Rust in Peace or Countdown to Extinction. The same can be said of Iron Maiden, Helloween, and Scorpions’ latest records from the last couple of years. Cycle of Contempt falls into the category of modern era albums. There are some real gems on this record, the title cut being my favorite of the lot. Some of the highlights for me include “Flames of Hatred”, “Off My Meds”, “Crossed”, and “King Shit”.

If you’ve never heard of Razor, then I’d recommend sampling some of their ‘80s albums as there’re some absolute killers from their glory days! Formed in 1983 in Guelph, Ontario, they are one of the first Canadian thrash bands alongside Voivod and Annihilator. Guitarist Dave Carlo founded the band and was later joined by frontman Stace "Sheepdog" McLaren. Sheepdog would go on to become a fan-favourite until his departure in 1989. It just takes a spin of the band’s Armed & Dangerous EP from 1984 and their classic album Evil Invaders from 1985 (be prepared to have the awesome title track stuck in your head all day) or 1988’s Violent Restitution to see that these guys are the real deal. They performed on tour with heavyweights Slayer and Motorhead in the US, but eventually, Sheepdog would lose interest and quit the band to be replaced by current lead vocalist Bob Reid. Razor released some good albums with Reid at the helm, but the majority of fans (myself included) were more partial to Stace "Sheepdog" McLaren’s vocal style and delivery.

Nevertheless, Razor is a solid band and it’s a pleasure to have them back making new music for us again. And on the last song of Cycle of Contempt, they make it clear that they’ll be back for more. If you’ve never experienced this classic Canadian thrash metal band, then I urge you to give them a spin and peruse their discography. You’ll find a couple of their vintage albums on Bandcamp and you can still find Evil Invaders (my personal favourite of theirs) on CD on Amazon. Keep it loud and fast, and enjoy their Razor-sharp tunes!

Razor on Bandcamp: https://razorband.bandcamp.com/music

Official Website: https://www.razorband.com/ 

Doom Comes Knocking Has Arrived!

It’s finally here! Release Day has arrived a few hours early! To celebrate the second anniversary of the Harbinger of D.O.O.M. blog, curated by yours truly, the Doom Comes Knocking compilation is now available to purchase exclusively on Bandcamp as a “Name Your Price” digital album. Featuring a who’s who of today’s best indie Heavy Rock, Heavy Psych, Stoner Rock, Doom, Heavy Metal, Deathgaze, Melodic Metal, and Prog Rock bands. It’s 12 songs, 67 minutes chock-full of great music, and with every download you get a 20-page PDF booklet featuring bios and links for every band included as well as album artwork.

Here’s the playlist for your listening pleasure:

1. Doctor Smoke – “Dreamers and the Dead”

2. Alunah – “Over the Hills”

3. Book of Wyrms – “Hollergoblin”

4. AAWKS – “All is Fine”

5. Las Cruces – “Stay”

6. HAZEMAZE – “Ethereal Disillusion”

7. Indus Valley Kings – “Sky King”

8. Titanosaur – "Escape Velocity (2022)"

9. Mos Eisley Spaceport – “Laika”

10. VAZUM – "Skooge"

11. Infinity Dream – “Circle in Time”

12. Genie Cries – “Verbrennen”

I’d like to thank all the bands and labels who’ve taken part in this project of mine. Hopefully you listeners out there like what you hear so we can make this a yearly tradition and release one or two compilations every year. So, if you dig this comp and would like to see more in the future, show your love and pick up a copy today. You can also follow me on Bandcamp at the link below. The Harbinger thanks you! Happy listening!

DOOM COMES KNOCKING on Bandcamp: https://harbingerofdoom1.bandcamp.com/album/doom-comes-knocking 

Musings: Ruby the Hatchet – Fear Is a Cruel Master

Hailing from New Jersey, Ruby the Hatchet is a psychedelic rock quintet that has gathered quite the rabid following over the years. It’s already been five years since their last album, Planetary Space Child, and they are set to unleash their fourth LP, Fear Is a Cruel Master, this coming October 21^st via Magnetic Eye Records.

They’re back! I love this band! You can always judge the album by its cover when it comes to Ruby the Hatchet; they continuously have the most gorgeous artwork and the songs that accompany it are always just as awesome, Fear Is a Cruel Master being no different. This album finds the band at the peak of their powers, with singer Jillian Taylor sounding better than ever. “The Change” is a bewitching opener with a genuine vintage rock ‘n’ roll sound. One of the highlights of the record. “Deceiver” is a terrific song with a superb guitar solo. “Primitive Man” is another ‘70s-sounding track with infectious hooks and catchy lyrics. Love the guitars in this one. “1000 Years” is my favorite track on the LP. An absolute jewel of a song, slower-paced with wonderful harmonies and weeping guitar. “Soothsayer” is a song of epic proportions with plenty of good riffs to satisfy even the most demanding rocker. Jillian shares vocal duties with one of the boys on “Last Saga”, a runner-up for best song of the album. This song has it all! “Thruster” follows, the LP’s first single and easily the catchiest track on here, a song that you’ll be humming for the rest of the day after hearing it. The eighth and final song is a kickass heavy psych tune titled “Amor Gravis” (heavy love) that has a timeless quality to it.

One of the things I love about this album is the use of the organ at precise moments to accentuate a song’s intensity. Jillian Taylor is an outstanding vocalist, she reminds me a bit of the great Pat Benatar, not exactly in the way she sounds, but with her commanding presence on every track. Ruby the Hatchet delivers one of their most polished albums yet; what a finely-tuned record this is! The five-year gap between albums has really allowed the band to hone their skills as musicians and songwriters. I also believe that Fear Is a Cruel Master is their most accessible album yet. If you haven’t experienced their music until now, then you are truly missing out on a very special band. Fans of heavy psych, rock ‘n’ roll, and classic rock will cherish this gem of an album.

Ruby the Hatchet on Bandcamp: https://thehatchet.bandcamp.com/album/fear-is-a-cruel-master

Magnetic Eye Records on Bandcamp: https://magneticeyerecords.bandcamp.com/ 

Musings: KISS - Off the Soundboard – Live in Des Moines 1977

For their fourth Off the Soundboard release, KISS decided to give fans a show from their beloved Alive II tour in Des Moines, Iowa, recorded on November 29, 1977. This tour follows up the Love Gun tour from earlier the same year. This set features KISS at the absolute peak of their career with Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss. The original lineup shines on this single disc of 17 songs, running at a tight hour and sixteen minutes.

Here is the official tracklist:

1. I Stole Your Love

2. King of the Night Time World

3. Ladies Room

4. Firehouse

5. Love Gun

6. Let Me Go, Rock 'N Roll

7. Makin' Love

8. Christine Sixteen

9. Shock Me

10. I Want You

11. Calling Dr. Love

12. Shout It Out Loud

13. God of Thunder

14. Rock and Roll All Nite

15. Detroit Rock City

16. Beth

17. Black Diamond

This is a monumental show in KISS’s storied career and can finally replace the actual Alive II record which had been edited to only feature songs that weren’t included on the legendary Alive! record. I always felt Alive II was a bit of a letdown for that reason, not giving us a full show of what they actually played on tour in 1977. This release rectifies that and then some. The sound quality and the band’s energy are second to none here. This is KISS when they were on top of the world. The previous entry in the series, Live in Donington 1996, featured the band’s reunion and was a stellar show, but this one slightly edges it to become the very best of the four volumes in this celebrated series of “bootleg” releases. Now all we need is an actual Off the Soundboard from 1975 to replace the landmark Alive! record for a true full show, pure, without any studio tampering.

This is back when KISS played their songs slightly faster live, so it makes for a more frenetic experience. The song selection is fantastic and plays like a greatest hits from the makeup era. The show kicks off with the energetic “I Stole Your Love”; the sound quality for the first minute or so shows some of the weakness of its source from a tape recording, but it gets progressively better as the song moves along and the rest of the album sounds outstanding considering its age. It’s great to hear a terrific rendition of “Ladies Room”, a song that is seldom performed (if ever) nowadays. Some of the highlights include “Firehouse”, “Love Gun”, “Shock Me” complete with Ace’s lengthy guitar solo, “God of Thunder” featuring Gene’s blood-spitting, fire-breathing bass solo, and Peter’s thunderous drum solo, the always kick-ass “Detroit Rock City”, and Peter singing a heartfelt version of “Beth” just before the closer “Black Diamond”, a personal favorite of mine.

I’ve said this with two of the previous Off the Soundboard releases, but if you’re gonna buy only one KISS record, be it live or studio, THIS is the one to get. It’s a perfect snapshot of the band at the height of their powers at a time when music was truly special and not everything had been seen or heard before. If you’re already a die-hard KISS fan, then you probably already own this and if not, what the hell are you waiting for? It’s a great time to be a KISS fan. Who would have thought that almost fifty years in, KISS would still be releasing relevant material! This is the third soundboard release this year and I have a feeling there’s another one on the horizon. Please make it a 1975 show to come full circle with the original lineup. This is easily one of the best records I’ve heard all year—I might be biased as KISS is my all-time favorite band—but nonetheless, this is a phenomenal live album regardless of whether you like their music or not. If you enjoy rock ‘n’ roll/classic rock, you owe it to yourself to give Live in Des Moines at least a spin. It’ll remind you why KISS was once one of the best live bands in the world.

KISS – Off the Soundboard - Live in Des Moines at the KISS Shop 

Musings: Occult Fracture – Bones & Bonfires

Occult Fracture is a hard rock/punk/metal quartet based out of Charlotte, North Carolina. Fronted by the fiery and soulful vocals of Crystal Crosby, they released their second EP titled Bones & Bonfires this past May, the follow-up to their debut EP, Fatal Unkind, from 2021. The best way to describe this band is if you were to have Motorhead and the Misfits jam together with a strong female lead singer instead of Lemmy or Danzig on vocals.

This is one hell of an energetic band, ladies and gents! They very much have a punk rock approach to tunes as almost every song on this EP (and the previous one) are about two minutes long. It makes for a frenzied listening pace, one that leaves you wanting “one more song” with every spin. The band plays tight together and deliver razor-sharp riffs and pounding rhythms all through the short running time of Bones & Bonfires. “Ravenous Phantoms” gets things off to a high-energy start; a punk rock song with a vintage sound that I really dig. “The Shroud” has a cool metal riff, tremendous vocals, and a catchy chorus. All hail the riff for “Militant”, my personal favorite track. This song is the best of both worlds: a perfect conglomeration of punk and metal. It’s a definite earworm. For the final cut, “Telluride Trigger” uses word play and kicks it old school, ending the proceedings with a loud bang. It’s gotta be a close second to my favorite song on the EP.

I think Bones & Bonfires slightly edges out Fatal Unkind as the best of the two EPs. The band keeps showing their chops for catchy songwriting and they continue to sound more confident in their overall musical execution. At a brisk 10 minutes in length, this EP has high replay value and it’s almost impossible not to hit the repeat button after the final track. I want an LP next from Occult Fracture! It’d be really cool to have a full set of a dozen songs in one shot. The only gripe I have, and it’s a very minor one, is why did they get rid of the awesome band logo they had on the cover art for Fatal Unkind for this release? The haunting stylized font they used is gone on Bones & Bonfires. Bring it back, guys! That little nitpick aside, I urge you to join in on the fun and pick up Bones & Bonfires at your earliest convenience, it’s a banger of an EP!

Occult Fracture on Bandcamp: https://occultfracture.bandcamp.com/ 

Musings: Freedom Hawk – Take All You Can

From the coastal dunes of Virginia, Freedom Hawk returns on September 23^rd with their sixth LP, Take All You Can, via the mighty Ripple Music, and it’s a doozy! What better way to end the summer and welcome autumn than with this near-legendary quartet’s unique brand of ‘70s hard rock/’80s metal. The band has evolved and really come into its own since their 2008 debut Sunlight. Time has really flown by; it’s hard to believe that Freedom Hawk has already been around for 17 years!

Take All You Can is like a popsicle on a hot summer day, a refreshing relief that makes you smile and bob your head along throughout its duration. It blew me away on first spin and on every subsequent replay. This is a heavy rock record that hits all the right notes, folks. From the catchy opener and single, “Age of the Idiot”, the classic rock tone is set for the rest of the album with vocals that channel the best of Sabbath-era Ozzy at times. The title track follows with major riffage and a terrific guitar solo; one of the highlights of the LP and runner-up for my personal favorite song. “We All Need Rock ‘N’ Roll” will conquer listeners with its soulful vibe, southern feel, and serves as a great ode to this beloved genre of music. “Seize the Day” is a splendid song, another one of the singles on an album where, honestly, any song could have been a single. A slower-paced tune with shades of Zep and Sabbath thrown in for good measure. We go back to a fast and furious pace for the stellar “Never to Return”, followed by “From the Inside Out” which draws inspiration from the ‘70s for a standout track and another of my personal faves. “Skies So Blue” evokes the warmth of the beach; a groovy tune with plenty of cool guitar licks. Just when you think this LP can’t get any better, “Comin’ Home” hits and builds to a powerful crescendo. It may very well be the best song of the record, I can’t decide. “Desert Song” is a superb closer with great use of keys and ends the set with imagery of hazy, desert-hot days.

The band sounds more relaxed and confident than ever on this release. I’ve had time to take the record for more than a few spins during my vacation so it’s not recency bias when I say that I believe this is their strongest effort to date. Not a single dud here, a pitch-perfect album in every way, shape, and form and a phenomenal album-of-the-year contender. On September 23^rd, don’t hesitate to pick up this gem of an album. It’s also a great starting point for the uninitiated that will most likely make you a Freedom Hawk fan for life. Whether you’re into heavy rock, classic rock or metal, there’s plenty to love in this 9-song set.

Ripple Music’s Freedom Hawk Bandcamp Page: https://ripplemusic.bandcamp.com/album/take-all-you-can

Freedom Hawk on Bandcamp: https://freedomhawk.bandcamp.com/ 

Musings: Megadeth - The Sick, the Dying… and the Dead

I’m back and so is Megadeth! While this is a band that needs no introduction, they’ve had their share of ups and downs and have gone through numerous roster changes—Dave Mustaine, founder/singer/guitarist being the sole constant throughout the nearly forty years since the band’s inception. Their latest album, their 16^th, is titled The Sick, the Dying… and the Dead and it landed last Friday, September 2^nd. Was it worth the six-year wait since 2016’s Dystopia? I’m gonna say, “Hell yeah!”

I’ve had a bit of a roller coaster relationship with Megadeth over the years. Dave Mustaine can be a polarizing individual and although I give him the highest praise for keeping this band alive for so long after the tumultuous history they’ve/he’s had, their catalogue has dipped in quality in the last decade or so. For the record, like many ‘Deth fans, my favorite album of theirs is 1990’s Rust in Peace followed closely by 1992’s Countdown to Extinction. After Dave called it quits in 2002, I was ready to be done with Megadeth, but Mustaine singlehandedly resurrected the band in 2004 with The System Has Failed, an album that I adore and which went on to become my third fave of their extensive discography. It was followed by United Abominations in 2007, a solid but not exceptional album, then came Endgame in 2009 and Th1rt3en in 2011, two records that I really didn’t care for. Aside from a few songs on each LP, I didn’t find them fun, catchy or memorable. Then the crappy Super Collider came out in 2013 and I was done with Megadeth. I figured Mustaine’s well was finally dry, so when Dystopia came out in 2016, I didn’t even bother buying a copy, instead only listening to it twice on YouTube and I wasn’t impressed. I must say that as of late I’ve given it a second chance and have enjoyed it a lot more. In fact, if I’m honest, it’s probably the best album they’ve put out since Abominations in 2007, until this latest one, that is. My opinion hasn’t changed about all the other lukewarm records in between though.

This brings us to The Sick, the Dying… and the Dead. The six-year gap between the last record and this one renewed my interest in Megadeth a bit and upon hearing (and watching the video of) the first single, “We’ll Be Back”, and its follow-up, “Night Stalkers”, I was definitely looking forward to release day. Sadly, because of the scandal and all the stuff that went on behind the scenes (I’ll let you look it up), long-time bassist Dave Ellefson’s bass parts have been re-recorded for this release. The lineup as it stands at the moment features Dave Mustaine on vocals/rhythm/lead guitars, Kiko Loureiro on lead/rhythm guitars, Steve Di Giorgio on bass on the album/James LoMenzo on bass on tour, and Dirk Verbeuren on drums.

The record opens with the atmospheric title track, a decent song but not my favorite. The “Yeah, yeah” parts just feel lazy and beneath Mustaine’s usual lyrical talent. On the flipside, the “Die, die” parts are quite cool. “Life in Hell” follows and should’ve been the opener, in my humble opinion. This one rips and shows us that Mustaine’s vocals are still quite reliable. “Night Stalkers” is a superb thrash song, one of the highlights of the album. It features Ice-T but it’s more of a cameo as he only appears briefly. I would’ve loved to hear him more! The shredding guitars carry the song forward at a relentless pace. I predict “Dogs of Chernobyl” will become a classic in the years to come. A definite high point and a true Megadeth tune with killer guitar parts. “Sacrifice”, a song bout black magic which I didn’t think we’d get at this juncture in Mustaine’s born again life, is definitely in my top three favorites on the LP. “Junkie” is the song I like the least on here. While not a bad song per se, its lyrics sound rehashed and unoriginal. The subject matter’s been done to death and I could do without it. “Psychopathy” is the intro to the next track, “Killing Time”, a solid song about procrastination with a terrific guitar solo. It’s one of those deep cuts you enjoy a little more with each new spin. “Soldier On!” is an absolute blast, catchy as all hell, and a runner-up for my favorite track of the album. “Célebutante” with its old school Megadeth vibe is also super catchy and the kind of tune you sing along to. “Mission to Mars” is a divisive track; some love it, some hate it. I personally love it! Sure, it’s got cheesy lyrics, but it also has an awesome synth intro, major riffage, and stays in your head—“I wanna be an astronaut!” The first single, “We’ll Be Back”, closes off the album. I liked it from the get-go, but over repeat listens, I’ve come to really dig it and the chorus is an earworm. It’s also a great way to end the album, saying the band will be back. If you bought the album on iTunes like I did, then you get two kick-ass bonus cover songs. “Police Truck” is a cover of the Dead Kennedys’ song that surpasses the original in my opinion. Then we move on to former Van Halen frontman Sammy Hagar’s “This Planet’s on Fire (Burn in Hell)” from his solo career. Hagar also sings some verses on the song, but it wouldn’t have changed much had he not been featured. And there you have it, fourteen songs clocking in at an hour and three minutes. Not too shabby!

I haven’t enjoyed a Megadeth record this much since The System Has Failed and I definitely believe this is Mustaine & crew’s best record since 2004. There, I’ve said it. Mustaine is still in rare form vocally and lyrically (and on guitar) in spite of all the health issues (and cancer) he’s suffered in recent years. It’s chock-full of great guitar solos, cool licks and riffs, a pounding rhythm section, and more than a handful of these songs channel vintage ‘Deth, proving that Megadeth is still highly relevant in 2022. I’ve listened to the album about eight times so far and it keeps getting better with each new spin, a tell-tale sign of a good record. The only nitpick I have is with iTunes’ version of the album; the mix sounds a little flat at times and lacks in dynamic range. I’m not sure if it sounds that way on vinyl or on CD though. This one will wind up on my year-end list, mark my words. If you love speed/thrash or traditional heavy metal, even if you haven’t listened to Megadeth in a while, I recommend taking The Sick, the Dying… and the Dead for a couple of spins.

Megadeth’s Official Store: https://megadeth.lnk.to/sickdyingdead