Malhavoc = Industrial Metal before there was Industrial Metal!

Have you ever heard of Malhavoc, that wild Canadian band that was doing industrial metal before a lot of other bands even knew what that meant? They kicked off way back in 1983 in Toronto, initially as a more extreme metal act, really getting into that thrash and death metal vibe. But the cool thing about them, or maybe the confusing thing depending on when you caught them, is how quickly they morphed and experimented.

The only constant through all the chaos was James Cavalluzzo (Jimi LaMort), the main man who handled vocals, and often guitars, bass, and programming. When they started blending the heavy metal crunch with industrial sounds, that’s when things got interesting. Think of their sound in the early-to-mid '90s as having a kinship with the mid-period Ministry sound—fusing metal riffs with samples and synthesizers.

When it comes to the gear, you have your basic band instruments, but with a twist. They had the guitars and bass that laid down the heavy, often thrash-metal influenced foundation. But what really defined their sound was the inclusion of samples, synthesizers, and programming. They brought in dedicated programmers and keyboard players like Steve Crowhurst, who would be key to layering in the electronic, industrial textures and sounds. This meant they often relied on drum machines and programmed beats, especially as they leaned harder into the industrial style. However, they did also have live drums sometimes, with guys like John Carss coming in to add a human element to the rhythm section. Later on, their sound shifted even more towards pure techno and electronic industrial, so you can imagine the keyboards and electronic production gear becoming the absolute central focus, with those heavy guitars taking a back seat, or in some releases, almost disappearing entirely. They were definitely pioneers in combining the raw power of metal with the cold, rhythmic pulse of industrial electronics. It wasn't just about playing a riff; it was about chopping it up, processing it, and surrounding it with machine noises and synth pads.