Les Trois Accords is essentially a French-Canadian version of Weezer intertwining alternative rock, punk rock and even country music with quirky tongue-in-cheek lyrics. Since its debut record Gros mammouth album back in 2003, the band has released a new output every three years. The band has always been known for its entertaining, humorous and sympathetic live shows but had only released one single live album so far with the experimental En Beau Country all the way back in 2008 where the band reintrepreted its early hits, a few new songs and some cover tunes in an authentic country rock style. Instead of offering a new studio album this year, the quartet from Drummondville has opted to release a new live record entitled Live dans le plaisir. This release is offered as a documentary of seventy-for minutes but also as a live album of fifty-nine minutes. Since there was no audience due to the ongoing pandemic, the band played in front of gigantic screens showing some clips and pictures going along with the lyrics of the different songs. Another idea was to adapt the songs from the band's early years to its contemporary playing style with only one vocalist and less country and punk influences.

Sadly, this concept doesn't work very well at all. The energy the band transports throughout its live shows is completely missing without a noisy crowd in front of them. The gigantic screens only distract from the musicianship and quickly become a bothering bore. Adapting the beloved material from the early years to streamlined alternative rock while denying its country roots or punk rock stylistics doesn't suit the songs at all. Masterpieces like ''Hawaïenne'' are missing warmth, spirit and creativity. Country ballad ''Saskatchewan'' sounds like an odd studio outtake played by some drunk tourists in a surf pub in Hawaii. The monotonous rhythm section of ''Lucille'' makes a formerly energetic and passionate song sound lifeless and vapid.

To be fair, the current alternative rock style suits the more recent material a little bit better. The danceable ''Ouvre tes yeux, Simon'' becomes an even better party anthem with its playful rhythm section. Ballad ''Les dauphins et les licornes'' develops into an extended jam session stretching to almost eight passionate minutes that would work even better with a crowd in front of the stage.

One has to give the quartet credit for reinventing its material but the final result has more misses than hits to be honest. The original versions of the songs have more atmosphere, energy and identity. The band has missed the opportunity to release an actual live album recorded before the pandemic. I had the chance to attend several of the band's concerts already and can confirm that the quartet is excellent on stage. Live dans le plaisir however is a failed experiment that is only interesting for the most dedicated die-hard fans who own all the band's records. Occasional or even new fans should ignore this album. Let's hope that a record with actual new material will make us forget that disappointing misstep next year.

Final Rating: 40%

Boris is a trio whose music is quite unique. The band members from Tokyo and Hiroshima play psychedelic alternative rock with thunderous drum play, distorted guitar sounds and emotional melodic vocals. This hypnotizing style unfolds its magic very well on stage throughout this concert featuring eleven songs with a running time of ninety-six minutes. Live in Japan also includes three bonus tracks as additional gimmicks. This live document has been released individually and as a collection with the recommendable compilation Variations.

Highlights include the aggressive, discordant and noisy ''Floor Shaker'' based upon energetic male lead vocals that is then immediately contrasted by the elegiac, psychedelic and simple ''Rainbow'' featuring moody female lead vocals. Several songs combine such extremes on their own like ''Ka Re Ha Te Ta Sa Ki - No One's Grieve'' that starts on a calm ambient note before it evolves into chaotic alternative rock patterns inspired by dirty grunge sounds.

The setup for this concert is much simpler than the music that has to be digested here. There are no gimmicks whatsoever and simply three musicians playing their music which is only supported by a nervous light show. Ohtani Takeshi is moving the most while playing bass guitar, electric guitar and performing vocals. Drummer Mizuno Atsuo is a powerhouse behind the kit, playing his heart out and performing a few backing vocals in form of energetic screams. As a stunning contrast, guitarist and female vocalist Mizuno Yoko barely moves and shows few to no emotions while performing the songs with the programmed precision of a robot. Live guitarist Kurihara Michio makes a few guest appearances ti increase the sonic mayhem efficiently. The crowd is in amazement with what is offered to them but barely cheering, moving or reacting much at all. This release is certainly not interesting for its live aspects but for its haunting psychedelic atmosphere from start to finish.

At the end of the day, Boris' Live in Japan serves as a good introduction to a band that has released an elevated number of studio albums, singles, extended plays, splits and live records that make it tough to figure out where to start. This record features ninety-six minutes of psychedelic alternative rock with haunting atmosphere that meanders between calm and elegiac tunes and aggressive and chaotic jam-like outbursts. This isn't the kind of record one could easily listen to on a regular basis but it's certainly creative, energetic and unique enough to be revisited when you feel like listening to something that walks off the beaten path. Fans of bands such as Sunn O))), Sleep and Kyuss should give this a try but I could even imagine open-minded fans of groups such as Muse or Soundgarden appreciating this kind of release.

Final Rating: 80%

No other country has as many creative, energetic and memorable all-female rock and metal bands as Japan. Nemophila is yet another group of this kind, revolving around Mary's Blood guitarist Saki. The five ladies have come together two years ago, have released three successful extended plays, one compilation and two singles before coming around with debut album Revive that offers the perfect opportunity to discover this quirky quintet.

The record opens with the liberating single and title track ''Revive'' that impresses with dynamic and melodic riffs, fast and tight rhythm section and melodic and powerful clean lead vocals. The song gets to the point in just three minutes and a half and is an instant hit. The music video that comes along with it shows how much the five musicians are enjoying themselves playing the music they love.

Up next comes ''Dissension'' that might be the record's heaviest tune with its aggressive riffs and the use of fierce screams. This track takes no prisoners and maims everything on its way through four highly entertaining minutes.

''Hypnosis'' on the other side focuses on a more atmospheric, introspective and smooth approach that offers a welcome break from the band's usually more diversified, powerful and quirky style.

The quintet proves with the memorable ''Game Over'' that it can also write catchy, focused and melodic pop songs without ever drifting away into shallow stereotypes. This track should certainly be released as an upcoming single and would deserve much radio airplay.

At the end of the day, Nemophila's Revive is an excellent release for everyone who appreciates a dynamic mixture of heavy metal, hard rock and pop music in the key of bands such as Band-Maid, Lovebites and Mary's Blood. This genre combination might sound odd at first contact to Western audiences but has proved to be quite efficient in Japan throughout many decades. This record doesn't revolutionize the female-fronted heavy metal scene but it's entertaining from start to finish through its eleven songs with a perfect running time of forty-four minutes. Crank up the volume, play this at your next party and have as much fun as the five musicians had when recording this album.

Final Rating: 80%

Cân Bardd is a Swiss duo supported by two live musicians on stage that plays epic blackened folk metal in the key of Summoning, Saor and Caladan Brood. For those uninformed, this means that the band values atmosphere over diversity and fleshes out immersive, intense and rather slow-paced tunes about fantasy and nature that are on average seven minutes long and occasionally break the ten-minute mark.

This type of music needs a little time to unfold and break the ice. Instrumental opener ''Echoes of the Moss'' could come from the soundtrack of a fantasy video game and evokes many images on your mind but is musically unspectacular and might drag on for a little bit too long.

Once the band kicks off its longer tunes with unchained black metal vocals however, it reaches another level. ''Une couronne de branches'' has the atmosphere of the opening instrumental combined with the intensity of the menacing vocals and takes ten and a half minutes to develop a mysterious atmosphere that is absolutely timeless. 

''Crépuscule'' is even more intense in that regard with more dynamic changes and liberating black metal passages that complement the introspective folk sounds and ambient elements spendidly. 

For those who are looking for a more melodic and harmonious approach, they should certainly appreciate the excellent ''Autumn Shore'' that should equally please regular folk metal fans and those who like atmospheric black metal. The folk instrumentation is domineering, playful and rich here while the vocals sound like a howling storm thrashing through an isolated forest. Melodic choirs enhance the immersive atmopshere even better towards the majestic conclusion of this particular masterpiece.

The closing ''Blomsterkransen'' comes as a welcome surprise as it turns out to be a smooth lullaby focusing on acoustic guitar and violin sounds crowned by enchanting female vocals performed in Swedish. This stunning closer is certainly the record's hidden gem and makes you want to experience the entire record all over again.

Cân Bardd's Devoured by the Oak is one of the greatest folk metal records of the year and unfolds its magic further with every single spin. Some people might argue that the band's style isn't exactly new but similar bands haven't released any new material in many years. This is why it's great to get a fresh new dose of blackened folk metal with inspired concepts and atmospheric depth. The band already performs on the same level as those who inspired it and might deserve even more attention and recognition in the future.

Final Rating: 85%

If you think that you have discovered everything that the metal scene can offer you, Thy Catafalque is a group that should certainly change your mind. Tamás Kátai's project combines blistering black metal with Hungarian folk music, smooth electronic soundscapes and orchestral arrangements. The project's seventh studio album comes less than a year after its predecessor which goes to show that Tamás Kátai was in a particularly creative mindset when creating and releasing the nine songs on Meta that clock in at a generous sixty-seven minutes.

The first four songs exemplify the project's diversity without ever sounding all over the place. ''Uránia'' is a gloomy black metal tune that slowly fades in before unchaining its blistering energy that takes no prisoners throughout its running time of seven minutes. 

In the next song called ''Sirály'', Thy Catafalque shows its smoother side with hesitating, melodious and smooth folk melodies accompanied by cello arrangements. Soprano vocalist Ágnes Tóth gives the song an airy, dreamy and enchanting vibe. This lullaby invites listeners to dream themselves far away throughout its running time of six minutes.

Up next comes along one of the shorter pieces called ''10⁻²⁰ Ångström'' that explores gothic metal territories. it starts with a meditative bell sound before low sacral male vocals set in. The track however picks up some speed after this atmospheric overture to unfold chaotic, fast and haunting black metal soundscapes that blend in splendidly by contrasting the song's calmer, mellower and slower passages.

''Ixión Düün'' is one of the record's longest pieces and employs elegant orchestral sounds that would blend in wonderfully on a soundtrack for a science-fiction movie. This futuristic atmosphere is later on complemented by the project's typical energetic, fast and pitiless black metal musicianship that comes in progressive waves this time around.

The highlight of this creative record however remains its longest piece ''Malmok járnak'' that might also be one of Thy Catafalque's very best songs. This song combines the record's different genres, ideas and sounds splendidly as it takes its time to build up an immersive, mysterious and otherworldly atmosphere. Desperate black metal soundscapes meet progressive electronic sound samples and appeasing folk sections with female vocals and oboe sounds. These different parts are carefully, fluidly and smoothly connected as this song alone offers much more to discover than other bands create in their entire careers.

Thy Catafalque's Meta inspires its listeners and pushes the boundaries by combining black metal, electronic music, folk sounds and orchestral arrangements in almost equal parts. This record might take a few spins to open up but has much replay value due to its rich diversity. The longest song ''Malmok járnak'' is a stunning highlight that serves well as an introduction to this incredible project as it hails not only as one of Thy Catafalque's greatest songs ever but also as one of the very best metal tracks of the last decade. The limited digipak version comes with beautiful gold foil that makes the creative cover artwork even more outstanding. I was lucky enough to find this release in an independent record store in Windsor, Ontario of all places, so you should be able to get your hands on a copy as well.

Final Rating: 85%