COLISEUM/DOOMRIDERS: NOT OF THIS WORLD

(MAGIC BULLET RECORDS/AUXILIARY RECORDS/LEVEL PLANE RECORDS; reissue 2016, original release 2005)

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Eleven years ago, Ryan Patterson of Louisville three-piece Coliseum released a split EP on his Auxiliary label, sharing the slab with a Boston band called Doomriders, one of Nate Newton’s many side projects when he isn’t playing bass for Converge. The intent of NOT OF THIS WORLD was to pay tribute to Glenn Danzig’s eponymous metal monster, Danzig. Each choosing one song from Danzig’s 1988 debut, the bands added some originals – very much in a similar vein to Danzig’s dark metal – to the mix (Coliseum, two tracks; Doomriders, one). Now, as part of their twentieth anniversary celebration, Magic Bullet Records has taken the two tribute tracks and stuck ‘em on a special 7” reissue. I wouldn’t have minded hearing the whole thing, but… I will definitely take what I can get.

Coliseum (Matt Jaha, Mike Pascal, Ryan Patterson, circa 2005) (uncredited photo)

Coliseum (Matt Jaha, Mike Pascal, Ryan Patterson, circa 2005) (uncredited photo)

Coliseum’s contribution, “Am I Demon,” comes across as standard-issue lo-fi heavy rock… you know, the good stuff. It’s kinda like Mountain and Blue Cheer tag-teaming with Lemmy, taking the low road while the ref’s not looking to retain their championship belts. Patterson offers suitably dark and gravelly vocals, as well as some brilliant guitar work; bassist Mike Pascal and bassist Matt Jaha lay down an underpinning that is so brutish, so heavy that you could caulk a window with it. If you like what you hear – and who wouldn’t? – check out the band’s latest release, 2015’s ANXIETY’S KISS, available here.

Doomriders (Chris Bevilacqua, Nate Newton, Jebb Riley, Chris Pupecki, circa 2008) (uncredited photo)

Doomriders (Chris Bevilacqua, Nate Newton, Jebb Riley, Chris Pupecki, circa 2008) (uncredited photo)

Possession” comes from Doomriders… DUH! The track starts with a wicked backward guitar that leads into a riff that reminds me of “Battle Axe” by Billion Dollar Babies, with sort of a minimalist (for a metal band, anyway) percussion thing from Chris Bevilacqua and Jebb Riley’s sonorous bass groove; the guitars, supplied by Newton and Chris Pupecki, are more akin to Tony Iommi’s dense slabs of tonality than anything else. Danzig’s punk pedigree is definitely on display on this one, particularly with the Misfits style gang vocals on the chorus. You gotta go back to 2013 to find new music from the quartet with the album GRAND BLOOD. You can find that and everything else Doomriders at this location.

NOT OF THIS WORLD original packaging.

NOT OF THIS WORLD original packaging.

So, short and sweet… just like this awesome blast from the past. Any fan of pure metal, hardcore or any type of aggressive music, really, will want this limited edition release in their collection; likewise, if you’re a fan of any of Glenn Danzig’s previous work, whether it be the Misfits, Samhain or Danzig, this record will fit in nicely with those, as well. It’s available on black, white or clear vinyl from Magic Bullet or any of the usual suspects.


LAMB OF GOD: THE DUKE

(EPIC RECORDS/NUCLEAR BLAST ENTERTAINMENT; 2016)

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I don’t know if you are a fan of Lamb of God or if you know anything about their passionate, compassionate singer, Randy Blythe. I don’t really care but, you should know about this incredible new EP from the aggressively progressive boys from Richmond, Virginia; you see, Randy and his bandmates care and they are more than willing to go the extra mile for their fans and put their money where their mouths are. I’m just gonna let Mister Blythe speak for himself about this record’s title track: “A little while ago, I became friends with a fan named Wayne Ford – he was terminal – leukemia. I talked with him often, even video chatted him into the studio. He was very calm about his impending death, and we discussed it very openly. I learned a lot from him. This song is for him.”

Lamb of God (Randy Blythe with Wayne Ford, 2012) (uncredited photo)

Lamb of God (Randy Blythe with Wayne Ford, 2012) (uncredited photo)

Randy was made aware of Wayne’s illness in October 2012, when one of Wayne’s buddies asked him if he could give his sick friend a shout-out from the stage; Randy met Wayne and his wife after the show, giving him a much needed shot of positive energy. A little over two years later, in January 2015, Randy received an e-mail telling him that Wayne was losing his fight with cancer; Randy contacted Wayne and they stayed in touch for the next few weeks, as Lamb of God worked on their next album (VII: STURM UND DRANG), with Blythe even allowing Wayne to video conference with him during recording of his vocal tracks (something that even his LoG brethren aren’t allowed to experience). On February 3, 2015 Randy learned that Wayne had succumbed to the disease. His immediate response was to write a song for Wayne Ford, called, perhaps with a bit of divine intervention, “The Duke,” as Wayne’s father later told Randy that he was a huge John Wayne fan and that he had named his son after the legendary actor known as the Duke. The band has also set up a charity campaign for the Leukemia and Lymphoma Society online, at propeller.la/lambofgod.

Lamb of God (John Campbell, Chris Adler, Randy Blythe, Willie Adler, Mark Morton) (photo credit: TRAVIS SHINN)

Lamb of God (John Campbell, Chris Adler, Randy Blythe, Willie Adler, Mark Morton) (photo credit: TRAVIS SHINN)

Now that you know what kind of men… no, make that Men… the guys from Lamb of God are, here’s why you should check out the music they make. “The Duke” is a progressive metal tour de force. The track features pounding drums (should it be otherwise?) from Chris Adler, a John Campbell bass line that thrums ominously along the bottom and inventive, pulsating guitars from the tandem of Willie Adler and Mark Morton, topped off with a stunning solo; Blythe’s vocals are mostly clean, only hitting on that well-known throaty growl on the chorus. I always considered Lamb of God to be a very technically proficient group, but this song really blows me away! The other new tune is “Culling,” which is more of the same, while not quite as inventive; this one is all abut the groove. There’s a Zakk Wylde style stun guitar running throughout, with a fleet-fingered, trebley solo punctuating the affect. Randy’s vocals revert to the norm here: Intense, guttural screams, which ain’t a bad thing.

Lamb of God (Randy Blythe, 2005 SOUNDS OF THE UNDERGROUND TOUR) (photo credit: DARREN TRACY)

Lamb of God (Randy Blythe, 2005 SOUNDS OF THE UNDERGROUND TOUR) (photo credit: DARREN TRACY)

The remaining three cuts are live versions of three numbers from VII: STURM UND DRANG. The first, “Still Echoes,” recorded at Germany’s Rock am Ring festival in 2015, features quick, precision strikes from the four musicians while still delivering a vicious, pummeling riff. The last two, “512” and “Engage the Fear Machine,” are from the 2016 edition of the Bonnaroo Music and Arts Festival. The autobiographical “512” is particularly moving, as it recalls Blythe’s plight, being locked away in a Czechoslovakian prison awaiting trial on charges of manslaughter; the music, especially the snaking, circular guitar figure gives the song a suitably claustrophobic feel. By the way, the full story of Randy’s ordeal is told with brutal honesty in his memoir, DARK DAYS is available from Da Capo Press and all major book outlets, both online and brick and mortar varieties… or, you could check out a copy at your local public library. If the above story about his interaction with one terminally ill fan hasn’t given you proof of the man’s character, this book surely will!


ANCIENT: BACK TO THE LAND OF THE DEAD

(SOULSELLER RECORDS/ELLEFSON MUSIC PRODUCTIONS; 2016) UPDATE BELOW

Ancient Cover Artwork

Twelve years after the band’s last release (NIGHT VISIT) and seven years after the latest version of the band came together, Ancient is back with what may be their most nuanced music ever. The album is not without problems, but BACK TO THE LAND OF THE DEAD is more than solid enough to keep the group’s diehard fans happy and new listeners – like me – intrigued. The album exists in both digital and CD forms, as well as a two record set, pressed on beautiful gray vinyl (available only from Soulseller Records; EMP has released a marbled blue version); this review follows the latter’s format.

Ancient (Zel, Nicholas Barker, Dhilorz) (photo credit: FABIO KOCELE)

Ancient (Zel, Nicholas Barker, Dhilorz) (photo credit: FABIO KOCELE)

Thunderous double bass drums explode on the de facto title track, “Land of the Dead,” while the guitars and bass seem to be buried in the muck and mire of a poorly executed mix. The vocals of band founder, Zel (shortened from Aphazel), are of the standard black metal variety: Gutteral, but not in the least bit unpleasant, as some other voices in the genre can be. The guitars begin to distinguish themselves in the second half of the tune, particularly with an odd, short solo that somehow works within the context of the driving hailstorm of noise. “Beyond the Blood Moon” features rudimentary progressive riffing. Once more, the vocals are buried in the mix a bit too much to be REALLY effective; a shame, too, as the lyrics are a cut above: “Chaos, fear, turmoil, despair/Millions dazed, trapped in the snare” and “What lies beyond the blood moon?/Will the end occur too soon?” are just samplings of the song’s bleakness. Plus, bonus points are awarded for fitting “sagacity” and “antediluvian” into the densely constructed wordscape. Okay… with “The Sempiternal Haze,” I’m finally starting to get a bead on Zel’s voice; it falls somewhere between that dude from Venom and King Diamond (though without the latter’s range). The levels seem to be… uh… leveling out, as the gigantic bass and guitar riffs are a bit louder than the drums, without dampening the full-throttle pounding one iota; the vocals seem to be cranked more, as well. A softer, more melodic break – a la Tony Iommi – leads into a nice guitar solo.

The Empyrean Sword” sets a wicked-fast pace from the get-go. The drums sound like helicopter blades decapitating a group of people who forgot to duck; the guitars churn and roil as the bass pounds in rhythm to the breakneck speed of Nicholas Barker’s percussion work. Some very nice guitar flourishes show up, once more, during a couple of slow breaks, the last right before Barker tears into a final, rapid-fire martial beat that would make Thunderstick proud. On “The Ancient Disarray,” another Iommi-esque guitar noodle leads into a downward spiral of chaos. The track features more pronounced guitar and vocals but, in breaking lockstep with Zel’s guitar parts, Dhilorz weaves some fairly interesting bass runs just below and through both the vocals and guitars. The vocals give way to an arcane-sounding incantation which lends a certain sense of authenticity to the whole affair, particularly as it leads to the song’s abrupt end. “Occlude the Gates” finds Zel’s voice taking on an animalistic, demonic air, even as the music assumes a more measured approach. The drum parts seem to be more well thought-out and… musical and powerful, as opposed to speed for the mere want of speed; the guitars hit on a majestic Maiden-like riff progression, sounding quite crisp and on-point. Even though the vocals are harder to decipher here, the song is actually one of the best on BACK TO THE LAND OF THE DEAD.

Ancient (Zel) (publicity photo)

Ancient (Zel) (publicity photo)

The majority of side three encompasses a three part “suite” called “The Excruciating Journey,” an apt title indeed, as themes of darkness and light, good and evil poke a finger in the eye of world politics. As the vocals continue to be brought to the fore in a more aggressive manner, the lyrics seem to become more garbled. However, with the triumvirate’s first movement, “Defiance and Rage,” the charging guitars and perpetual brutality of the drums continue unabated, making the piece virtually impossible to ignore. “The Prodigal Years” shows a softer side of the band… musically, anyway. Here, the lyrics are delivered in whispers, barely audible, which makes the song even creepier. “The Awakening,” the final piece of the triptych, is a return to the musical themes of “Defiance and Rage.” As the trio turns up the heat, Zel gets right to the heart of the matter: “Rot! Grime! Angst and blight!” The second chorus tears the scab completely off the festering wound, intoning, “Just a neverending disarray, can’t avoid going astray/Like a fly in a flushing toilet/Surely seems the end has come.” The music doesn’t become less urgent or bludgeoning on “Death Will Die,” but there is something violently majestic about the guitars and keyboards that make this one a stand out. In fact, with Zel’s voice turning back to the biting growl of the first several tracks, this could just be the best tune on the record.

Ancient (Dhilorz; Zel; Nicholas Barker; Ghiulz Borroni) (publicity photo)

Ancient (Dhilorz; Zel; Nicholas Barker; Ghiulz Borroni) (publicity photo)

Side four opens with “The Spiral.” Powerful and intriguing, the tune’s circular (dare I say, “Spiraling?”) guitar figure offers up the record’s ultimate classic rock riff, referencing Alice Cooper and Deep Purple,as well as the twin-guitar assault of bands like Thin Lizzy and Iron Maiden. As cool as “Death Will Die” is, this track comes in a close second, due to its diversity in approach; for six-plus minutes, the band manages to incorporate not only several styles of metal, but straight-forward 1970s hard rock into the album’s matrix, including a slight slowing of the tempo behind a cool dual guitar part. Again, a more pronounced keyboard presence adds to the overall effect. It seems that band mastermind Zel has divided …LAND OF THE DEAD into two quite different parts. The first five or six numbers are playing to the Ancient base – the long-time fans who are here for the dome-crushing blackened riffs and ceaseless drive of the double kicks; the second is, for want of a better term, more experimental, giving the trio a chance to stretch out and display their talents on a wider stage. “Petrified By Their End” is a perfect example: While maintaining the band’s ultra-heavy roots, it tends to lean toward the progressive. There are four distinct sections to the nine-and-a-half minute piece that will hold even the most cynical listener rapt throughout. In point of fact, the Alice reference comes into play again as, at about the six minute mark, there’s a buzzing beehive guitar solo that reminds me of Glen Buxton’s killer (pun intended) work on “Halo of Flies.” The album ends with a bonus track (but, not really a bonus, as it appears on every configuration and version of the record). “13 Candles” is a cover of the Bathory tune that I’m not sure really adds anything to the original, but covers are always fun. Having just discovered Ancient with this album, I have just one request: Please… don’t wait another dozen years to release your next record.

(UPDATE) After further listens to BACK FROM THE LAND OF THE DEAD, I must amend my thoughts regarding the sound quality on the first few tracks of the record. The sound is not as muddied and muffled as I originally opined; seemingly, the problem actually lies with the digitized version I used for this review. So… turn it up and enjoy!


ROB ZOMBIE: THE ELECTRIC WARLOCK ACID WITCH SATANIC ORGY CELEBRATION DISPENSER

(ZODIAC SWAN RECORDS/T-BOY RECORDS/UNIVERSAL MUSIC ENTERPRISES; 2016)

The Electric Warlock Acid Witch Satanic Orgy Celebration Di

For whatever it’s worth, I was one of those people who could either take it or leave it as far as the wildly, improbably popular band White Zombie were concerned. Why? I don’t know… wrong time, wrong place? Maybe it was the demonic over-saturation at Alternative Radio (you seemingly couldn’t swing a severed head without hitting a DJ playing, having just played or getting ready to play “Thunder Kiss ’65” or “More Human Than Human” between 1992 and 1997 or so). Whatever, I was just never that into the band; however, fast forward a year or two and the release of vocalist/visionary Rob Zombie’s solo debut, HELLBILLY DELUXE, and I was hooked. In the ensuing years, the erstwhile banner-waver for low-rent, science-fiction based shock rock has expanded his influence, taking his playfully bent visions into other media… most successfully in the realms of indie comic books and movies. He’s also become quite the live draw, as well as an in-demand producer and co-writer in certain musical circles, as well as a professional “guest vocalist,” having made appearances on several Alice Cooper albums. When the Coopers were (finally!) inducted into the Rock and Roll Hall of Fame, Rob did the honors.

Rob Zombie (John Five, Rob Zombie, Piggy D, Ginger Fish) (publicity photo)

Rob Zombie (John Five, Rob Zombie, Piggy D, Ginger Fish) (publicity photo)

THE ELECTRIC WARLOCK ACID WITCH SATANIC ORGY CELEBRATION DISPENSER (say that three times fast… heck, say that once without messing it up!) marks Zombie’s sixth solo release of twisted boogie metal, and though it would be easy to dismiss this record as just more of the same, it would appear that the living dead man still has a few tricks up his sleeve. Does it sound like Rob Zombie? Well… duh! You see, the thing about an artist like Rob is this: No matter how much someone complains about everything sounding the same, the first time Zombie and his band deviate one iota from the accepted sound and formula, the fans are gonna yell that he doesn’t care about his REAL fans and he has – DUNH, DUNH, DUNH! – sold out. So, THE ELECTRIC WARLOCK… sticks to what has worked in the past, while adding just enough “different” to be subversive. “The Last of the Demons Defeated” is a 90-second introduction with Rob chanting/intoning “Electric warlock… electric warlock… electric warlock acid witch” over a massive tribal stomp. The second track begins with a cartoon voice delivering a well-known mantra of those uptight traveling tent revival preachers from the ’50s through the ’80s, decrying rock music as “Satanic cyanide” before erupting with a from-the-bowels Death Metal vocal over a Sabbath-worthy riff before a murderous Zombie relates his story of how rock turned him into a depraved maniac over a swirling cacophony of guitars (courtesy of this record’s secret weapon, John Five); the song’s title, obviously, is “Satanic Cyanide! The Killer Rocks On!” plus… bonus points for fitting the phrase “mohair coffin” into the lyrics. Continuing the insanely long titles, “The Life and Times of a Teenage Rock God” is more to form, with Zombie’s rumbling, staccato vocal delivery; there is a cool “Spaghetti Western” synth break toward the end of the track, provided by Zeuss. “Well, Everybody’s Fucking In a UFO” follows, a weird metal hoedown filled with allusions of getting high (either by smoking some weed or breathing some swamp gas), being abducted by aliens and being… uh… probed. Rob’s whacked-out backwoods voice is hilarious and definitely adds to the silliness. The exquisitely named interlude, “A Hears Overturns With the Coffin Bursting Open,” starts off with a voice repeating “So revolting and yet so interesting” over and over before giving way to a quite pretty acoustic guitar, disturbing in its elegance. The final tune on Side One of the vinyl version of THE ELECTRIC WARLOCK… is “The Hideous Exhibitions of a Gore Whore,” is kind of a ’60s-style Farfisa-heavy garage homage to THE MUNSTERS and bad horror movies, featuring such genre-worthy lyrics as “She got Vincent Price tattooed on her thigh/Below a devil bat with a crazy eye” and “So much blood everywhere/And all she wants is more.” The images this number evokes makes it one of my favorites of this release.

Rob Zombie, OZZFEST (photo credit: DARREN TRACY)

Rob Zombie, OZZFEST (photo credit: DARREN TRACY)

Side Two” of the record stays the course set by the first half, with “Medication For the Melancholy” playing up the misconception that celebrities have lives far-and-above those of “ordinary people,” steamrolling the more listener-friendly lyric put forth by Mark Knopfler more than thirty years ago with Dire Straits’ “Money For Nothing.” John Five once more delivers a trippy, effects-laden solo and suitably like-minded leads; Ginger Fish’s drumming is… BIG, as always. It would seem that “subtle” is something Ginger doesn’t do well, nor would we want him to. “In the Age of the Consecrated Vampire We All Get High” is more like White Zombie’s syncopated stomp than anything else on THE ELECTRIC WARLOCK… , with an incredible backward solo from John. And, I don’t know if it’s the mix or the playback systems I’ve been listening on but, this is the first time on the album that Piggy D’s bass stands out, a wicked thump and rumble that perfectly fits this song. “Super-Doom-Hex-Gloom Part One” is another short (relatively speaking) interlude with a short spoken-word introduction before evolving into a series of computer blips and a throbbing synth bass, a weird piece of soundtrack music to an even weirder, cheaply produced early 1970s horror movie. With guitars set to stun and effects a-plenty from Zeuss’ keyboard and Piggy’s bass and Zombie’s processed voice delivering a litany recounting his reasons for being (“Well – I was born a rotten freak/Slicking back a widows peak,” “Well – I was born on Hullabaloo/Mind control is what I do”), “In the Bone Pile” is one of the more satisfying tracks on the record. Plus… ya gotta love the images that title conjures in your mind. “Get Your Boots On! That’s the End of Rock and Roll” is truly the only full-tilt rock and roll song here, with pummeling rhythms from Ginger and Piggy and a vicious solo from John Five. The record clocks in at 31 minutes, more or less, with each of the first eleven tracks running an economical 2:58 or less, which makes the final cut, “Wurdalak,” somewhat of an anomaly with a run time of five-and-a-half minutes. It’s all Rob’s phased voice spitting out Lovecraftian lyrics over some spooky music and noises until the final couple of minutes, which turns into a creepy piano coda that sounds right out of THE EXORCIST… somehow a fitting end to the insanity of the last half hour. So, is this the greatest record ever made? Is it the greatest Rob Zombie record ever made? Will it change lives? Will it make the world a better place? The answer to all four questions is, “No.” But, if you ask me if it’s fun, the answer is a resounding, “Yes.” And… what more can you ask from a rock and roll record?


NIGHT DEMON/VISIGOTH/DOOM AND DISCO/BANGARANG

(May 9, 2016; FUBAR, Saint Louis MO)

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I’m gonna let you guys in on what may be one of the worst kept secrets in the universe: I love heavy metal… all kinds of heavy metal. However, if I were staked to the ground in close proximity to a colony of fire ants and the only possible salvation was telling my captors what type of metal was my favorite, I would have to say the classic, hard rocking stuff… you know, Black Sabbath, Judas Priest, Deep Purple, Iron Maiden, Demon. So, even though I thoroughly enjoyed recent shows by Nile and Coal Chamber (and am looking forward to the return of Dez’s other band, DevilDriver), I gotta say that this night was Nirvana (the mystical happy place, not the band) to this old-school rocker. By the way, this was my first foray to the Lounge, a smaller room with impressive, clear sound, located to the left of the venue’s entry. What a great decision it was to put this show here and the other, more punk oriented bill in the main room.

Bangarang (John Loness; Cory Crowell; Ruben Guerrios) (photo credits: DARREN TRACY)

Bangarang (John Loness; Cory Crowell; Ruben Guerrios) (photo credits: DARREN TRACY)

Local three-piece Bangarang is the modern approximation of early-to-mid ’70s Mountain-ous (you know, Leslie West… Felix Pappalardi… Corky Laing) hard rock, filtered through ’80s SoCal punk. The group’s eight song set featured the five tracks from their recently released EP, SNACK TIME, including a raging jungle beast called “Jumanji,” which featured a cool breakdown, with Cory Crowell pounding out a brutal tribal beat. Other highlights were the thudding behemoth that is “Monsoon Tune” and the atmospheric “Egan’s Rats,” which put me in mind of those psychedelic freaks, NIL8. Guitarist John Loness holds an odd place within the musical structure of the band, as he – more often than not – adds chittering effects and weird little strands of rhythm rather than any kind of boisterous, balls-out lead or solo (even though he proved himself more than capable of those types of guitar heroics); when he does step out, it is always tasty and very much holding to the vibe of the song and the suitably heavy groove laid down by his bandmates, drummer Crowell and the lucidor-masked bassist Rubin Guerrios, who manages to be crushingly heavy and uncompromisingly funky at the same time. Loness, who is also the trio’s lead singer (the others provide some well-placed backing), has the perfect voice for the style of rock played by Bangarang and, though the final three songs were works-in-progress, presented as instrumentals waiting for lyrics, he still shied away from filling the lyrical void with over-the-top guitar parts… it just wouldn’t have made sense within the arrangements and would have been a distraction to what the band is attempting with their music; in fact, the first of the three instrumentals, called “Bangarang,” was more of an extended drum solo with minimal accompaniment from Guerrios and Loness. The three numbers, voiceless though they were, seemed to fit in well with what has come before and definitely bodes well for the next phase of Bangarang’s evolution; I, for one, can’t wait.

Doom and Disco (Fu Thorax; Henry Savage; Fu Thorax) (photo credits: DARREN TRACY)

Doom and Disco (Fu Thorax; Henry Savage; Fu Thorax) (photo credits: DARREN TRACY)

Doom and Disco, the second Saint Louis band of the evening, rather like their name, is somewhat of a paradoxical venture. The group performed as a duo, with a third member wandering the floor, unprepared to play. The band play classic riff-heavy metal at ear-bleeding volume; you know… the good stuff. Despite a count-in on virtually every song, everything sounded like it started in the middle and was over at least fifteen seconds before it ended. (Before continuing, I should point out here that the names listed are somewhat in dispute, as my best investigative efforts could only uncover one name associated with Doom and Disco, a guitarist/vocalist named Shalom Friss, the same person who gave me the band info for this review… plus, his Facebook profile looks suspiciously like the dude onstage.) Guitarist Henry Savage featured a beefy, bassy sound, while his vocals somehow reminded me of the legendary Lemmy Kilmister; skin-pounder Fu Thorax was merciless in his approach, reminding me of that wild-eyed family member who always looks like he just farted in the dip bowl while holding an internal running commentary on the social relevance of DUMB AND DUMBER TO. Doom and Disco’s musical selections included such blistering fare as “666 Death,” “Spaghetti Western,” “Savage Journey” and set closer, “Vengeance and Oblivion.” As a duo, the sound was heavy, oppressive and surprisingly full; I can only imagine what we would have heard if that third player HAD been on stage (I’m assuming that he would have played bass, which would have given their sound an even heavier vibe). Bottom line: Doom and Disco… whoever you are and however many of you there are, I hope to have the chance to see you again soon.

Visigoth (Leeland Campana; Jake Rogers; Jamison Palmer) (photo credits: DARREN TRACY)

Visigoth (Leeland Campana; Jake Rogers; Jamison Palmer) (photo credits: DARREN TRACY)

So… what does Salt Lake City’s Visigoth have in common with long standing bands like Iron Maiden, Raven, Diamond Head, Tygers of Pan Tang, Witchfynde and Samson? Well, they may not hail from the United Kingdom, but they do hold the torch of the New Wave of British Heavy Metal high. The group has an epic sound, with lyrics retelling tales of legendary lore of castles and dragons and knights; vocally, Jake Rogers can wail like an earlier Briton, Rob Halford, while guitarists Leeland Campana and Jamison Palmer deliver majestic dual leads, ala classic Maiden or Judas Priest. In short, Visigoth is the best kind of throwback band… with a studious knowledge of (and respect for) those who have gone before, paving the way for a new generation of head-banging musicians, yet talented enough to add their own metallic twists to the mix. Much of their set draws upon the group’s latest release, THE REVENANT KING, including the epic, Arthurian title track; “Dungeon Master,” the new Gamer Nerds National Anthem; “Mammoth Rider,” a mystical retelling of Hannibal’s legendary march into Italy astride elephants; and “Necropolis,” a killer Manila Road cover. The rhythm section of Mikey T on drums and Matt Brotherton on bass were rock solid throughout, laying down a massive foundation, allowing the guitars and vocals to weave their magical spells and minstrel tales of adventure. For me, one of the ultimate highlights of the brilliantly well-paced set was another cover, as the band reached back into their NWOBHM ancestry to offer “The Spell,” from Demon’s 1982 album, THE UNEXPECTED GUEST… a song, a band and a record virtually unknown in these here United States. With a new release on the horizon, Visigoth can only continue their upward trajectory. If you have the chance, do not sleep on the opportunity to see these guys live. Oh, yeah… I gotta give bonus points to Jamison Palmer for his Tank tee. Plus, additional bonus points to me for not using the words “sacked” or “sacking” anywhere in this review.

Night Demon (Dusty Squires; Armand John Anthony; Jarvis Leatherby) (photo credits: DARREN TRACY)

Night Demon (Dusty Squires; Armand John Anthony; Jarvis Leatherby) (photo credits: DARREN TRACY)

As much as I liked the under card, I was absolutely stoked for the main event. The Ventura, California trio, Night Demon, plays that classic Deep Purple brand of heavy rock, with more than just a dose of sinister Misfits style punk. They opened their set with a blistering “Screams In the Night,” the lead track of the band’s debut full-length, CURSE OF THE DAMNED, with solid vocals from their sole original member, bassist Jarvis Leatherby; in fact, Leatherby’s vocals were on-point and – thankfully – upfront throughout the night. Along with his battery mate, drummer Dusty Squires, Jarvis also laid down a monstrously heavy bottom end… on a Flying V, no less. New(ish) guy Armand John Anthony more than held his own on guitar, with amazingly tight leads and smoking solos. The set was enhanced by oddly effective lighting, more so because they were supplied by the band’s merch guy from the front of the stage.

Night Demon (Jarvis Leatherby; Armand John Anthony; Dusty Squires) (photo credits: DARREN TRACY)

Night Demon (Jarvis Leatherby; Armand John Anthony; Dusty Squires) (photo credits: DARREN TRACY)

The guys tore through a solid song list that included tales of fast cars, ages-old evils, modern day madmen and religious rites, both sacred and profane: “Road Racin’,” “Ancient Evil,” “Killer” and the centerpiece of the band’s live performances and their raison d’etre, “Chalice.” With an intensity rivaling the original Blue Cheer or the Jimi Hendrix Experience, Night Demon took their place among the great power trios of hard rock and heavy metal, updating the model to represent, not only current musical trends, but also the grimmer, grimier aspects of our modern world. If I had to compare Armand’s six-string assault to a predecessor, I hear definite influences from Gillan-era Bernie Torme, the late, lamented Paul Samson and the guys from Maiden, particularly Adrian Smith… classic metal riffs laced with a speed and fluidity that few possess, all amply displayed on “Full Speed Ahead,” among others; it’s hard to pinpoint any one style in Leatherby’s vocals… his is a strong, forceful rock and roll voice that seems to be manufactured for exactly this style of heavy music; Squires is a rock-solid Ian Paice type of drummer, a brilliant timekeeper with the occasional flash of reckless abandonment. As the show built to its climax, from “Killer” into “Road Racin’” and into the moody, sombre “Chalice,” the trio was joined onstage by Rocky, the looming, leering personification of Poe’s THE MASQUE OF THE RED DEATH, who bade all to “Drink from the chalice.” This theatrical cameo brought wild cheers from the (unfortunately) modest crowd, much like the Iron’s lumbering Eddie or the Misfits’ Fiend/Crimson Ghost used to back in the day. Rocky’s departure from the stage conjured the ultimate evil, as the band charged into the final number, “Satan.” Jarvis asked for the stage lights to be lowered and, upon learning that they were actually controlled by a wall switch by the stage, Visigoth’s Leeland jumped to the rescue, turning the lights off and on, creating a type of rhythmic lightning effect… a rather silly but somehow appropriate ending to a fun evening of live music.

Night Demon (Armand John Anthony and Jarvis Leatherby with Rocky; Rocky offers the Chalice; Dusty Squires) (photo credits: DARREN TRACY)

Night Demon (Armand John Anthony and Jarvis Leatherby with Rocky; Rocky offers the Chalice; Dusty Squires) (photo credits: DARREN TRACY)

I was impressed by the professionalism of all of the bands (and their meager crews), as each went out of their way to ensure that I (and the entire room, really) had a great time. I had a brief interlude with Jarvis after the show and mentioned, rather offhandedly, that I wished the record companies would send out vinyl copies of their releases for review; he asked if I had a copy of CURSE OF THE DAMNED and, receiving my negative reply, walked over to the merch table and handed me a vinyl copy, saying, “Now you do, my friend.” I certainly wasn’t expecting that but, the gesture put me in mind of the way artists generally handled their business when I first got into this game more than twenty years ago. If I hadn’t been a fan before, I definitely was when I walked out of the venue with my brand new slab of orange vinyl!


FEAR FACTORY/SOILWORK/SPADES AND BLADES/SYSTEM SLAVE

(April 22, 2016; POP’S NIGHTCLUB, Sauget IL)

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Hello, fellow rockers… Dustin Gabel here to bring you my first concert review since my college days. A little background on my start: After graduating from Belleville Township High School East, I moved on to college at Belleville Area College (now known as Southwestern Illinois College or, SWIC) and secured a spot for a new section in the college paper, STUDENT OUTLOOK, doing concert reviews. That landed me next to some of the period’s most influential bands, like Nine Inch Nails, Metallica, Rob Zombie, Queensryche… once in awhile getting lucky enough to be given backstage passes. After college, I decided to go into the military which kept me occupied for 12 years, but I wanted to keep my foot in the door for doing concert reviews, live concert photography, and interviews; so, after a long wait, and some sorely missed opportunities to get back into the music scene… I am back! I do see that a lot has changed in the way public relations and publicity for bands is handled, but being in the photo pit for concerts still has that flavor I missed… being inches away from your favorite singers and band members, taking pictures. So without further ado, I bring you… THE DEMANUFACTURE TOUR starring Fear Factory, Soilwork, Spades and Blades and System Slave! Enjoy!

System Slave (Cody Golden, Chuck Guzman; Mike Messex, Stephen Harris) (photo credits: DUSTIN GABEL)

System Slave (Cody Golden, Chuck Guzman; Mike Messex, Stephen Harris) (photo credits: DUSTIN GABEL)

Opening the show was System Slave from Sullivan, Missouri. Barely on the music scene for a year since their start in January 2015, the five members came together to share a common goal: Writing music and, someday, taking their music to the world stage. To start building their fanbase, three songs were released on reverbnation.com while they worked on their album. Shortly after the release of the three songs, titled “Loaded,” “Last In Line” and “Lights In Seattle,” the track “Loaded” went on to win the best rock song in the Academia Awards. This will definately be a band that’s going to excel with it’s edgy, powerful, melodic style and with their first full length album due out later in 2016. When asked about what genre their music should be placed in, the answer was “REAL,” which is definately the truth! For being a relatively new band, I saw no signs of that at all. The members work really well together, with several different musical styles falling into place, delivering a live show that could easily be compared to bands that have been on the scene for much longer. System Slave definitely has that fluidity that you just don’t see in new bands who haven’t even recorded their first album!

Spades and Blades (Jason Todd; Tommy Jean Stiles) (photo credits: DUSTIN GABEL)

Spades and Blades (Jason Todd; Tommy Jean Stiles) (photo credits: DUSTIN GABEL)

Next up was California act Spades And Blades. Formed in 2006, the founding members have actually been on the music scene since 2001, as a hardcore punk band named the Havoc; but, it was decided that they wanted to form something different, a heavier project with a new life. They definitely delivered that with style, with their mashup of metal, hardcore, and hard rock leading to a more melodic metalcore sound in 2013, with the release of their EP, PROUD TO BE LOUD. After completing a successful tour in 2015, the band played several local shows in Southern California to support the release of the album THE END IS NEAR in February, 2016. After ten years as a band, the music industry is finally taking notice of Spades and Blades and their progressive metalcore style as a force to be reckoned with. My first thought after they started their set, without knowing much of the band history prior to 2006, I saw a lot of Henry Rollins influence in the singer, and now, knowing more about their hardcore roots, it all fits in. Either way, if you are able to catch them out on tour, Spades and Blades is a band you won’t regret showing up early or staying late for!

Soilwork (Bjorn Strid, Dirk Verbeuren; Sylvain Coudret) (photo credits: DUSTIN GABEL)

Soilwork (Bjorn Strid, Dirk Verbeuren; Sylvain Coudret) (photo credits: DUSTIN GABEL)

The third band to take the stage was Soilwork from Sweden. Having arrived early, for a scheduled 3:00 PM interview with Bjorn “Speed” Strid, the group’s frontman, I was pumped up for the show and the chance to learn more about their music, methods of inspiration for their songs, influences, and Bjorn’s personal side. Unfortunately, due to a tour bus incident, Soilwork and Fear Factory were running a few hours late. Having formed in 1995, under the name Inferior Breed, they changed their name in 1996 to Soilwork, which means working from the ground up… which is what they have done despite the lineup changing several times, with Bjorn being the longest standing (and only original) member. As the singer stated, Soilwork is sounding better than ever and I can’t agree more! After their set, I was able to pull Bjorn aside for a few minutes to talk about the tour to support the new release, THE RIDE MAJESTIC. He stated they will be back in the area in the fall; hopefully, there are no incidents to make them run late again and I can deliver a solid, information-filled interview for you all to enjoy!

Fear Factory (Burton C Bell; Dino Cazares) (photo credits: DUSTIN GABEL)

Fear Factory (Burton C Bell; Dino Cazares) (photo credits: DUSTIN GABEL)

Finally, the long awaited part of the show for many. Despite the tour bus mishap (a  broken engine belt), putting them late for arrival at the venue but keeping in contact with the tour manager via text message, vocalist Burton C Bell had a direct quote for the anxious, waiting fans… “Sorry it’s gonna be a throw and go, but we’ll give ‘em one hell of a show”. Having seen Fear Factory several times in the past with Sepultura, that promise was lived up to… just like I expected from Fear Factory! They never disappoint. While the stage hands were setting up their equipment, we were graced with the PURPLE RAIN soundtrack being played – as requested by the band - to honor the late musician, Prince. To hear every single person in Pop’s singing “Purple Rain” was a very emotional, respectful tribute as he has had a phenomonal impact on many musicians in across all genres. The music slowly faded out, lights dimmed, and here, finally, was the much awaited moment with Fear Factory taking the stage to support the twentieth anniversary of the release of DEMANUFACTURE, opening with the title track, tearing straight into “Self Bias Resistor,” followed by “Zero Signal,” “Replica,” “New Breed,” “Dog Day Sunrise,” “Body Hammer,” “H-K (Hunter-Killer),” “Pisschrist” and “A Therapy For Pain.” As the house lights came back on, fearing that was all of their set, the crowd started chanting for more. It paid off, as the house lights went back down and Fear Factory returned to belt out four more tracks, “Shock, “Soul Hacker,” “Regenerate,” finally ending the night with “Edgecrucher.” Burton stated he would deliver one hell of a show and that promise was lived up to with kickass double-bass, insane riffs, heavy bass lines, and lyrical slaughter as only Fear Factory can deliver!


THE OXFORD COMA: PARIS IS MINE

(SELF RELEASED; 2015)

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The Oxford Coma (only one “m”) is a Phoenix three-piece (I suppose we could call them a “power trio”) that has alternately been described as “psychedelic anxiety rock” or “the world’s heaviest jam band.” Call them what you will… I rather prefer “math genius metal.” A few seconds into “Canadian Question Mark,” the opening cut of the self-released PARIS IS MINE, it is obvious (to these ears, anyway) that this is something exceptional. The song, a sort of progressive hard rock instrumental affair (if there are vocals, they are minimal and buried deep in the mix), features a nice mid-tempo groove, with oddly appealing dissonant guitars and a humongous, thudding bass. Though the guitars sometimes sound as if the track is about to explode in a flurry of speed, the rhythm section remains solid. On “Ritaling,” James Williams offers a very punk rock kind of a bass line, while the vocals and guitars have a distinct mid-’90s Kansas City sound (think Season To Risk). There’s a heavier-than-the-rest section with a certain Tony Iommi-like heaviness in Billy Tegethoff’s guitar; the second half of the tune is sort of creepy, with great atmospheric work from Tegethoff. “Daisies” is trippy and psychedelic, with a chukka-chukka kind of rhythm guitar thing and near-Residents like vocal outbursts (Tegethoff and Williams are both credited as vocalists, but who sings what isn‘t listed). Once again, the bass and drums (the latter supplied by Patrick Williams) border on minimalist, leaving the almighty riff to do most of the heavy lifting. This isn’t metal, but it is suffocatingly heavy and there’s a great wah-infused solo at the end that is hard to ignore.

The Oxford Coma (Billy Tegethoff, Patrick Williams, James Williams) (publicity photo)

The Oxford Coma (Billy Tegethoff, Patrick Williams, James Williams) (publicity photo)

The Pulls” is propelled by heavier-than-thou bass and some understated (though still powerful) drumming, allowing for some excellent guitar and haunting vocals to hover just above the surface, giving the tune a demon-spawn sound akin to the offspring of some 1970s hard rock band and Stone Temple Pilots, circa their first three records. The next track, “Ados Watts Jam,” is exactly what the name implies: A jam. Clocking in at a robust ten-and-a-half minutes, the KC/Season To Risk comparisons find their way back into the conversation, with bullhorn vocals crawling just above the mix. There are also a couple of jazzy, Sabbath-esque breaks leading into the final, improvisational section of the tune, all of which proved to be quite entertaining. Even if the song doesn’t exactly fall into the “jam band” category, it is a stretch on the group’s standard song structure. The final track is well-known to rockers and blues aficionados the world over: “When the Levee Breaks,” The Oxford Coma’s version manages to out-heavy the Led Zeppelin version, with Patrick’s nearly ham-fisted Bonham-esque skin pounding and a massive guitar sound. This version is as far from Zeppelin’s version as their version was from the 1929 original by Kansas Joe McCoy and his wife, Memphis Minnie Lawlers. You can listen to (and purchase) PARIS IS MINE, as well as earlier releases, at the group’s Bandcamp page. You will not be disappointed! And, if you are… you need to acquire better taste in music.


CANNIBAL CORPSE/OBITUARY/CRYPTOPSY/ABYSMAL DAWN

(February 24, 2016; READY ROOM, Saint Louis MO)

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It’s not often that a quality Death Metal package makes it’s way through Saint Louis, MO. With the recent influx of mall-dwelling deathcore imitations, it seems that true old school death metal has been eschewed for a watered down derivative that often relies on hokiness and over the top antics rather than the brutality and true musicianship reflected in the DM acts of yore. On the morning after a blustery February snowstorm descended upon the Midwest, four bands pulled into the Gateway City to lay waste to any notion that true Death Metal is dead and gone. This is their story.

Abysmal Dawn (Charles Elliott) (photo credit: SOPHIA ZUCKER)

Abysmal Dawn (Charles Elliott) (photo credit: SOPHIA ZUCKER)

Abysmal Dawn kicked things off with the title track to 2008’s PROGRAMMED TO CONSUME. Their signature blend of crunchy riffs and brutal blast beats bring to mind acts such as Malevolent Creation and Hate Eternal. Vocalist/guitarist/band mastermind Charles Elliott was especially impressive as he riffed his face off while simultaneously belting out Cookie Monster-esque growls in what proved to be an above par opening performance.

Cryptopsy (Chris Donaldson, Matt McGachy) (photo credit: DUSTIN ENDICOTT)

Cryptopsy (Chris Donaldson, Matt McGachy) (photo credit: DUSTIN ENDICOTT)

Next on deck for the evening were the French-Canadian tech-death marauders known as Cryptopsy. Fresh faced vocalist Matt McGachy wasted no time as he immediately whipped the crowd into a fervor amidst a blend of new and old material. The band’s drummer, Flo Mounier, had been seemingly shot out of a cannon as he rhythmically pounded out tunes such as “Crown of Horns” and “Mutant Christ.” I must say that the highlight of the set was the absence of tracks from 2008’s nausea-inducing (and not in a cool, gory, Death Metal way) deathcore outing, THE UNSPOKEN KING. Also included were two tracks from the band’s most recent EP, entitled THE BOOK OF SUFFERING, which is available digitally from all major media outlets. Closing out the set was the fan favorite “Phobophile” from 1996’s NONE SO VILE.

Obituary (Donald Tardy, 2012) (uncredited photo)

Obituary (Donald Tardy, 2012) (uncredited photo)

Naturally, a band performing songs entitled “Slowly We Rot”, “Chopped In Half” and “Bloodsoaked” must be devoid of any sense of compassion and kindness, right? WRONG! I had the chance to sit down with Obituary co-founder and drummer extrordinaire Donald “DT” Tardy before the show; he seemed more than happy to discuss a passion other than the Death Metal he’s been churning out for over 30 years: A cat rescue he co-owns with his wife. “I just got tired of seeing dead cats in my neighborhood,” he explains. “I thought, ‘It doesn’t have to be this way.'” And, when prodded about his favorite horror films, DT ambivalently admitted, “Eh, I don’t really watch movies too often anymore. Sure, when I was younger, ya had, ya know, the Jasons and Freddies but, I honestly haven’t stepped into a movie theater in 15 years.” Who says all metal-heads are the same? This dude loves cats and doesn’t like horror movies… Awesome!

Obituary (Kenny Andrews) (photo credit: DUSTIN ENDICOTT)

Obituary (Kenny Andrews) (photo credit: DUSTIN ENDICOTT)

As for Obituary’s set, the Florida quintet was nothing short of spectacular. Kicking things off with the instrumental onslaught of “Redneck Stomp” (from 2005’s FROZEN IN TIME), the boys weaved their way through a blistering set of chaotic viciousness that can only be described as truly phenomenal brutality. Vocalist John Tardy menacingly stalked the stage while bassist Terry Butler (ex-Death, ex-Six Feet Under) laid down fat slabs of measured savagery. Rhythm guitarist and co-founder Trevor Peres is a bonafide riff monster, while the addition of Kenny Andrews on lead guitar brings back the high end ferocity that was absent while the band performed as a four-piece. Closing out the set with the title track to 1989’s SLOWLY WE ROT, Obituary proved once again why they are the undisputed kings of Florida Death Metal.

Cannibal Corpse (Alex Webster; George Fisher) (photo credits: DUSTIN ENDICOTT)

Cannibal Corpse (Alex Webster; George Fisher) (photo credits: DUSTIN ENDICOTT)

Batting cleanup were headliners and metal legends, Cannibal Corpse. Firing off classic after classic, CC delved deep into their extensive catalog to present gems such as “The Time To Kill Is Now,” “Pit Of Zombies” and, my personal favorite, “I Cum Blood.” George “Corpsegrinder” Fisher (whose neck is thicker than his head), took an authoritative command of the crowd as he bellowed out his distinct growl while concurrently windmilling his head at breakneck speeds. By the time the band closed out the show with “Devoured By Vermin,” from 1996’s VILE, the entire crowd had been decimated into a puddle of black T-shirts, sweat, beer and blood that somewhat resembled what used to be roughly 800 metal-heads.

Obituary (John Tardy) (photo credit: DUSTIN ENDICOTT)

Obituary (John Tardy) (photo credit: DUSTIN ENDICOTT)

Overall, the night was fantastic, with Obituary stealing the show. The droves of moshers, headbangers and leather clad vixens only proves my previously established perception that Death Metal… and metal as a whole, is fully alive and well in 2016. Special thanks to Donald Tardy for the interview.


EPICA/MOONSPELL/STARKILL

(January 30, 2016; READY ROOM, Saint Louis MO)

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I gotta admit, I wasn’t real sure what to expect out of Epica… I just knew that I really wanted to see legendary Portuguese Goth metallers, Moonspell, again. Serious doubts entered my mind about the whole night when it seemed as though this was going to be another one of those sparsely attended Saint Louis shows; with about 30 minutes to go before start time, the room was less than half full. However, to my utter surprise (and delight), each check over my shoulder saw the head count rise to the point that, by the time Starkill took the stage, the floor was packed. And, what a great evening of rock and roll was on hand for one and all, beginning with…

Starkill (Tony Keathley; Parker Jameson, Shaun Andruchuk; Shaun Andruchuk) (photo credits: DARREN TRACY)

Starkill (Tony Keathley; Parker Jameson, Shaun Andruchuk; Shaun Andruchuk) (photo credits: DARREN TRACY)

Chicago progressive speed merchants, Starkill. The band’s prime mover, Parker Jameson, showed himself adept at both dirty and clean vocal styles, as well as impressive lead and solo guitar… he was even responsible for the prerecorded keyboard parts featured throughout the six-song set. The show highlighted Starkill’s most recent release, VIRUS OF THE MIND with three songs, including their opening salvo, “Be Dead or Die.” Odd title aside, the tune featured an intense orchestral intro from Jameson and a massive drum sound. Surprisingly, the strongest material has yet to be officially released, “Burn Your World” and “Cloudless,” from an upcoming third album (after two albums with Century Media, the band is self-releasing this one with fan funding from Indiegogo); maybe the strength of these new songs comes from the fact that guitarist Tony Keathley and bassist Shaun Andruchuk are now firmly ensconced in the fold (VIRUS OF THE MIND was pretty much finished when they were brought on board). Andruchuk is an absolute beast, prowling the stage and giving the guitars and vocals ample underpinning alongside the borderline maniacal drum-bashing of Spencer Weidner. As impressive as the rhythm section is, this group’s strength lies in the vocals (with Keathley supporting Jameson with clean counter-vocals and, in some instances, nice harmonies) and the twin lead work from the fleet-fingered guitarists, put to particularly good use on “Virus of the Mind.” What could have been a fairly unextraordinary set of Death Metal was continually lifted to unexpected heights by the clean vocals of both Parker and Tony, Spencer’s percussive expertise and the use of Parker’s keyboard and orchestral embellishments. These guys can only get better.

Moonspell (Fernando Ribeiro; Mike Gaspar; Aires Pereira) (photo credits: DARREN TRACY)

Moonspell (Fernando Ribeiro; Mike Gaspar; Aires Pereira) (photo credits: DARREN TRACY)

Moonspell have always tended toward the dark, Gothic edges of metal. More recently, they have gone full-tilt into the Gothic sound and lyrical imagery of such bands as the Damned, True Sounds of Liberty (TSOL), Danzig (both the metal band and their punk Misfit leader) and the lugubrious funeral dirges of Type-O Negative. The band were ushered to the stage with the atmospheric, near-operatic (as in THE PHAMTOM OF… ) “La Baphomette,” the final track from their latest record, EXTINCT; as vocalist Fernando Ribeiro took to the boards, the recorded intro faded, replaced by the ponderous beats of Mike Gaspar’s drums and the massive sound of Pedro Paixao’s pipe organ for the haunting “Breathe (Until We Are No More),” the opening cut from the same album. Guitarist Ricardo Amorim and bassist Aires Pereira initially seemed to be completely buried in the mix with the nearly overwhelming volume of the pipe organ. However, the problem was soon rectified and, to paraphrase the dearly departed Lemmy, everything was louder than everything else, with Pereira’s bass adding to the rhythmic din laid down by Gaspar and Amorim’s tasty licks leading the way on Moonspell’s musical moonlight drive through the cemetery. The band seemed to kick into high gear with the title track from EXTINCT, particularly Ricardo, who delivered the first of many killer solos; they really hit their stride, however, on older tunes like the slow grind of “Awake” (from 1998’s IRRELIGIOUS album) and a pair of late set favorites from their 1995 debut, WOLFHEART (the eerie fist-pumper “Vampiria” and “Alma Mater,” which featured a very nice old-school rock solo from Amorim). Ribeiro hung around the lower registers, occasionally approximating the bone-rattling baritone of the sorely missed Peter Steele or, alternately, delivering the gutteral death-rattle of the genre – moving effortlessly between the two at the drop of a coffin lid… plus, his accent kinda reminded me of Bela Lugosi. As good as Starkill was, this was definitely the highlight of the evening for me; could the headliner hope to match or exceed what Moonspell brought to the stage?

Epica (Simone SImons; Mark Jansen; Arien van Weesenbeek) (photo credits: DARREN TRACY)

Epica (Simone SImons; Mark Jansen; Arien van Weesenbeek) (photo credits: DARREN TRACY)

Kicking their set off with a couple of tracks from their latest release (THE QUANTUM ENIGMA from 2014), from the get-go, it was obvious that the name of these Nederlanders’ game was speed and precision; guitarists Isaac Delahaye (the lone Belgian in the group) and Mark Jansen proved to be fleet-of-finger, while bassist Rob van der Loo and drummer Arien van Weesenbeek matched them with a wicked ferocity and keyboardist Coen Janssen added a touch of the symphonic. Of course, above all was the unbelievable mezzo-soprano voice of the lovely Simone Simons. “The Second Stone” and “The Essence of Silence” were formidable blasts of Wagnerian bombast, with mystical/metaphysical lyrics, alternating between Simons’ operatic vocals and Jansen’s harsh, throaty growl. Amidst a flurry of hair-whipping, it was obvious – much like Moonspell before them – that the band (and an appreciative audience) really started to have fun with the introduction of some fan-favorite older material, beginning with “Sensorium,” from the group’s debut release, THE PHANTOM AGONY. With “Martyr of the Free World,” Coen Janssen emerged from the shadows (and fog) engulfing stage-right’s back corner with a unique bowed keyboard, soloing and mugging for the crowd (and I still couldn’t get a decent shot of the third original member of the group, along with Simone and band founder, Mark Jansen); toward the end of the song, after basking in the much-deserved accolades of the packed room, Janssen returned to his omni-directional keyboard as Delahaye killed a lightning-quick solo.

Epica (Rob van der Loo; Mark Jansen; Simone SImons) (photo credits: DARREN TRACY)

Epica (Rob van der Loo; Mark Jansen; Simone SImons) (photo credits: DARREN TRACY)

As you may well guess, any band with the type of near-virtuosity that each member possesses is going to solo and solo often. On “Cry For the Moon,” it was Weesenbeek’s turn, as the hard-pounding drummer delivered a powerful, tastefully short exhibit of his abilities. The song itself, another track from THE PHANTOM AGONY, built from a basic, martial rhythm to an anthemic slow-simmer to a full-blown operatic tour de force, with a Teutonic-sounding choir (via a sample or backing tape) adding a new dimension to the already forceful vocals of Simone Simons. Though Epica has been called a “Gothic Metal” band, it really isn’t until “Storm the Sorrow” that I caught anything (other than certain lyrical content) remotely Gothic in their music, with the heavy, near-industrial riffage and doom-laden piano flourishes; the fact that the upbeat vocal performance belies the nightmarish lyrics only adds to the Goth feel… a real highlight. The brutally dark vibe continued, with Mark delivering more of his intense, harsh vocals throughout the next few songs,” including “The Obsessive Devotion” and, from THE QUANTUM ENIGMA, “Victims of Contengiency.” This darker sound also gave van der Loo a chance to shine with more complex bass lines, rather than sticking fairly close to the rhythmic patterns laid down by the drums and guitars; this complexity was best displayed on the title track to 2009’s DESIGN YOUR UNIVERSE, the closing number of the main set, which also featured some very nice multi-textured keyboard work from Coen.

Epica (Isaac Delahaye; Simone SImons; Mark Jansen) (photo credits: DARREN TRACY)

Epica (Isaac Delahaye; Simone SImons; Mark Jansen) (photo credits: DARREN TRACY)

Unsated, the appreciative crowd refused to leave without hearing more; Epica was more than willing to oblige. With Janssen exhorting the rabid fans, he was soon joined by Weesenbeek, Delahaye and van der Loo, teasing the encore before Simons and Jansen returned for a stirring “Sancta Terra.” The band wasn’t messing around with a “one-and-done” trip back to the stage; they followed that tune with a great version of one of the stronger songs from THE QUANTUM ENIGMA, “Unchain Utopia.” If that wasn’t enough, refusing to go gentle into that good night, the sextet finished with a thundering version of the bombastic, anthemic epic, “Consign To Oblivion.” Like last November’s Amaranthe show at Pop’s, Epica eschewed the use of any visible, onstage amplification or monitors; however, where the sound was, at best, spotty for that earlier show, here, it was near perfect. The lighting, also, was some of the best I’ve seen in recent memory. So, earlier in this review, I asked the question, “Could Epica hope to match or exceed what Moonspell brought to the stage?” The answer, my friends, is an unequivocal, “Yes!” A great night of metal, from top to bottom.


KOWLOON WALLED CITY: GRIEVANCES

(NEUROT RECORDINGS/GILEAD MEDIA; 2015)

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As with most releases from Neurot Recordings, the words bleak, oppressive and challenging come to mind when describing GRIEVANCES, Kowloon Walled City’s third full-length and first for the label (the vinyl version is released through Gilead Media). The band’s mastermind, vocalist and guitarist Scott Evans has created as suffocatingly heavy a sound as any I’ve heard in a good little bit, with a biting narrative relating the hard-scrabble life of a working stiff just trying to get by (forget about getting ahead). On “Your Best Years,” a molasses slow groove underpins Evans’ strained voice as he laments “They’ll cut you down to count the rings/Measure out your worst years.” As the song nearly grinds to a stop in the middle section, we are presented with a great, droning solo. Somehow, through all of the gloom and despair, there’s an underlying sense that this guy is gonna beat the odds. “Grievances” is more kicking against the pricks (the intentionally vague lyrics, ostensibly railing against an employer, could also be talking about a government or an organized religion) and features more slow-core, intensely heavy riffage; this time, the solo comes as the music begins to pick up some steam before reverting back to the grinding cacophony. A violent crush of noise, “Backlit” may be the heaviest thing I’ve ever heard… a tune that’s kinda like the musical equivalent of watching two trains crashing into each other, seeing the carnage unfold in slow motion.

Kowloon Walled City (Scott Evans; Ian Miller; Jon Howell; Jeff Fagundes) (publicity photo)

Kowloon Walled City (Scott Evans; Ian Miller; Jon Howell; Jeff Fagundes) (publicity photo)

The second half of the album kicks off with “The Grift,” a song which is faster than the first three, but still doesn’t even come close to mid-tempo. The quickened pace seems to make the guitars sound more melodic through most of the tune. “White Walls” is vaguely reminiscent of a Body Count song played at half speed. For the first time, Ian Miller’s bass parts separate from the drone while the discordant, de-tuned guitars of Evans and Jon Howell and Jeff Fagundes’ stiflingly heavy drums threaten to smother the listener. Much more oppressive drums and bass pound home yet another tale of disillusion and deceit on “True Believer,” as Evans intones “He wonders which one’s to blame/And will they get away/Because you know/Someone always gets away.” The cut features a noisy, feedback-drenched solo. The final number highlights the reason we do what we do… it’s all for our “Daughters and Sons.” The narrative asks the questions we all ask: “Did we get enough?/Are we satisfied yet?” just before the hopelessness and ultimate defeat of the human spirit is felt in the final third of the song. GRIEVANCES is my first exposure to Kowloon Walled City and, hopefully, it won’t be my last. If nothing else, I would certainly love to see these guys play this stuff live.