Release date: 5.09.2026
Label:Jawbreaker Records
There is no shortage of bands today claiming the legacy of eighties heavy and speed metal, yet very few make that return sound as natural as Meurtrier. Formed in Quebec by musicians seasoned in the Canadian underground circuit, the quintet takes the legacy of ADX, Sortilège, Exciter and Agent Steel as its point of departure to build a fast, dark and distinctly theatrical sound, performed entirely in French.
Review
“Clandestin” is a straight to the point opener, with guitar solos that arrive almost immediately, combining rapid scale runs with heightened dissonance through the use of the vibrato bar. Between the pounding chords and Tony Verrault’s piercing voice, haunted by echoes from beyond the grave, a genuine duel unfolds between voice and guitar, while the guitar layers move between sharp riffs, rapid flourishes and structural breaks, all supported by an exceptionally fast and well executed bass performance.
There is a particular strength here. The easiest approach would have been to double the guitars with identical performances on separate tracks, yet the album opts for genuine manual interplay instead. One can clearly hear Will Verrault’s guitar on one side and Martin Paquet’s on the other, and the result is excellent.
“Cri Silenciux” follows the familiar pattern of beginning with isolated guitars before gradually introducing new instruments at the end of each measure. Jeff Tremblay’s bass does not simply reinforce the guitar rhythms, frequently adding fills and quick figures at the end of each phrase. Behind the kit, Fred Tremblay (seriously, are they all brothers or cousins in this band?) keeps pace with the faster passages and introduces double bass drum sequences during the galloping sections. Although he is clearly a capable drummer, certain moments could be handled with greater fluidity, particularly during the abrupt transitions, where his playing sounds slightly rigid. Overall, however, he delivers exactly what the songs require.
“Messe de Fer” opens in a manner similar to the previous track, although here Tony Verrault’s soaring chest voice at both the beginning and the conclusion lends the song that destructive, epic quality every heavy metal fan can appreciate. The rhythmic construction is considerably stronger than on the preceding songs, something reflected in the remarkable precision with which the instruments enter and leave the composition through multiple structural shifts, alternating galloping rhythms with mid tempo passages. Those theatrical, off key demonic laughs evoke classic metal acts such as the brilliant Lizzy Borden or France’s own Sortilège, always pushing the vocal performance to its expressive limits.
“Bête de l’Ombre” follows much the same path as the previous tracks, introducing rapid turns at the end of every verse together with chromatic chord progressions and galloping rhythms. Admittedly, the formula begins to feel repetitive when the album is heard from beginning to end. Even so, the composition is well crafted, with solos that move between classic heavy metal phrasing and thrash metal influences. The vocal lines are more restrained this time, a calmness that contrasts effectively with the song’s power. During the second half, changes in meter and dynamics introduce a series of ornamental motifs, while the bass maintains a constant presence throughout. It is an excellent gateway into the musical world these Canadian musicians have created.
“Exil” is one of the album’s finest moments, opening with calm arpeggios and clean guitars touched by a layer of grime. The bass follows the same aesthetic, sounding as though it were permanently on the edge of saturation. This is precisely the sonic identity Meurtrier cultivates, a darkened form of heavy metal that enters into dialogue with older names such as Legend, Manilla Road and Chile’s Lucifer’s Hammer. The composition is built around two clearly defined sections. The first three quarters unfold with a melancholic atmosphere, while the closing portion erupts into bursts of riffs and accelerating tempos, becoming an epic hymn to freedom and exile before reaching a theatrical and thoroughly tragic conclusion.
“Suis Moi” begins with an introductory solo before advancing through fragmented rhythmic patterns and another outstanding vocal performance. Tony Verrault is never monotonous and, despite not possessing an extraordinary natural voice, extracts every ounce of expression from it by stretching phrases, delivering soaring notes and intermittent vibratos. The chorus feels slightly rushed in the way the percussion resolves, yet despite a few mastering imperfections the song remains highly effective, featuring strong instrumental interludes and convincing guitar solos.
“Fatal Ennemi” abandons the more traditional heavy metal rhythmic approach in favour of tempos much closer to speed metal, recalling the spirit of early Helloween or Blind Guardian while never abandoning the galloping rhythm that has become one of the band’s trademarks. It certainly works, although by this stage it has become a recurring device throughout the album. The final third attempts to introduce a more introspective passage, but it ultimately becomes one of the less successful moments on the record. The sustained guitar notes carry genuine emotional weight, yet the section never develops into something truly memorable.
The journey concludes with “Meurtrier”. It opens with another trademark sequence of rapid rhythms and daring guitar solos before the verse arrives. Throughout the chorus the band employs effective power chords, alternating bursts of speed with slower passages without ever sacrificing momentum. Characteristically, they avoid repetitive vocal phrasing by introducing a dramatic and slower section in which the lead guitar gradually sketches the melody between the rhythm riffs. Verrault deserves particular praise for constantly reshaping his vocal lines, stretching ordinary phrases into screams and howls. That willingness to take risks prevents the album from ever becoming predictable or emotionally flat.
Conclusion
There are several aspects the band could refine in future compositions. Their persistent reliance on galloping rhythms and certain rhythmic resolutions means that several songs end up sharing an architecture that is perhaps too similar. Some drum transitions could be executed with greater naturalness, while the production, despite possessing a rough and organic charm, contains a handful of mastering issues that slightly diminish the overall clarity.
Ultimately, this is a darkened form of heavy metal that deliberately embraces handcrafted distortion while avoiding the polished sheen of large scale productions. The music is not especially complex, but neither is it simplistic. Meurtrier works with relatively straightforward ideas, refining them through thoughtful arrangements and careful instrumental interplay. Above all stands Tony Verrault, a vocalist who pushes every ounce of breath into bringing the lyrics to life. He does not merely sing them. He dramatizes them, transforms them into theatre, and that becomes evident from the very first listen.
TheNwothm Score: 8.5/10
Links
Bandcamp:https://meurtrier.bandcamp.com/
Facebook: https://www.facebook.com/meurtrier.speedmetal666
Instagram: https://www.instagram.com/meurtrier.heavymetal/
Label: https://www.jawbreaker.se/
