The Graspop Metal Meeting festival, held annually in the small Belgian town of Dessel, has become one of the highlights of the metal calendar, along with such festivals as Wacken Open Air and Hellfest and this year, the event proved how successful it is by celebrating it's twentieth edition. It was certainly a special way to mark the occassion, booking a number of bands who had never played the festival before but who fans had been clamouring to see. It has always traditionally catered to head bangers of all ages, bringing in bands from the early days of metal to the stars of today, as well as up and comers. Before we go any further, it should be noted that due to scheduling conflicts, some big names either will not be covered in this review, or only mentioned briefly, so don't be disappointed if your favourite band doesn't get the treatment you want, if at all. So, with all that said, just how good can a metal festival in the Flemish region be? Read on, MacDuff.
Arriving on the Thursday, the camp site seemed to be smoother than ever to get in to than previous years. Whether this is because the staff have further improved the planning of the grounds, metal heads have become friendlier over the past four years, or because I've been put on medication since my last visit, we'll never know. Anyway, the general atmosphere at Graspop was, as per usual, a very relaxed one, with people from all over the world coming to listen to and celebrate the music they love so dearly. There are some bands performing on this day too, mostly cover acts such as The Art of Pantera and Diolegacy. It's a good way to get introduced to the festival grounds, get some tokens (imagine Disney money but with skulls on,) and familiarise yourself with the stages, food stalls and the cafe, which is more of a pub with Warlock on full blast.
On to the most important thing however, the music. Kicking off the main stage, or rather, the second main stage as the festival now has two, was hard rock supergroup, The Dead Daisies. The band features a collective of solid names such as Marco Mendoza, Dizzy Reed and former Motley Crue vocalist, John Corabi. Looking at the bands on the members resume such as Guns N Roses, Thin Lizzy and Whitesnake, their good time, hard rocking sound was pretty much what one would expect. This does not, however, stop them from doing their job of getting people on their feet, putting smiles on faces and generally bringing a great vibe to the event that is so vital in making sure a festival gets off to a good start. They're not just a party act either, they've got some genuinly good songs and a number of people seemed to be a little surprised how much they enjoyed the set. Bottom line: If you want to party like it's 1985, go see the Dead Daisies. You'll be glad you did. More...
Just a few weeks ago I watched Cavalera Conspiracy perform Sepultura songs at the Texas Independence Festival on the very same stage at Empire Control Room & Garage. At that show I heard the former voice (Max) and beat maker (Igor) of Sepultura. With the band bearing the namesake Sepultura, I witnessed original bassist Paulo Jr. and longtime guitarist Andreas Kisser. Most of all I would be comparing vocalists. I saw Max Cavalera front the band during their vaunted “Chaos A.D.” album twenty-one years ago, so I was curious to hear Derrick Green’s fill in this position. More...
Day three of Texas Independence was the day I looked forward to the most. The headliners included Corrosion of Conformity-Blind, Death Angel and Cavalera Conspiracy.
This day was by far the most stacked for talent. Bands as well known as Allegaeon played early in the day. I didn’t make it to the club until 2:30. The Agonist was the first band I caught. I wasn’t able to see the band with Alissa White-Gluz before she left for Arch Enemy, so it’s difficult to compare her to her replacement Vicky Psarakis. Psarakis’s vocals seemed fine, but she appeared to have lost the monitor. Her band mates were in fine form, though.
Deathcore was the chosen style of music for day two of Texas Independence Fest in Austin, Texas. Whitechapel headlined and Oceano and Boris The Blade were two of the bands providing support. All those bands played the main stage, the Garage Stage. Before getting into this this stage, I would like to look at some of the small stage, Control Room Stage. Metalcore seems to be alive and well in Temple, Texas, a town located an hour north of Austin. Insonomist out of Temple played yesterday’s show and In The Trench played today. Vocalist Steven Harding’s refrain was infectious and the band got the small crowd in motion. More...
Come and Take It Productions founded Texas Independence Fest in 2008 as a way to bring fans of heavy music together and to celebrate Texas pride. This was my second time attending the annual event held in Austin, Texas. Last year I covered sets by Behemoth, 1349, Wayne Static and more. The previous year consisted of only a day, while this year was expanded to three days. Several vendors offered their goods and services for sale. One of these was Gibroni’s Texitalican Kitchen, which offered Tex-Mex meets Italian sandwiches. More...
SXSW attendees spent the last day of the festival trying to stay dry. Fortunately, the Gypsy Lounge erected a giant tent to keep the crowd dry. The rain forced the staff running Converse/Thrasher’s Death Match to shut down the skate ramp.
I missed the first two bands, Blasting Concept and American Sharks and came in during instrumental jam band, Arctic. This Southern California band is making a name for their selves playing skate parks and skate festivals. Their guitarist, Figgy looked like Mikael Åkerfeldt from Opeth and played solos like him too, even though the band sounds nothing like Opeth. He was fun to watch and his solos were excellent but he and his band didn’t bring a lot in terms of riffs. More...
A little bit of rain didn’t stop SXSW attendees from once again packing the Dirty Dog Bar down on Sixth Street this Friday. While the Metal Sucks showcase was heavy on tech death bands, the Tone Deaf Touring showcase included down tempo acts The Skull and Weedeater. Before those acts took the stage, though, progressive instrumentalists Stinking Lizaveta opened the show. The Philadelphia, Ohio based band has fifteen years of touring American and European audiences. This longevity showed in the trio’s tightness. Their female drummer played hard sticking tightly to the bassist who played an upright bass. The guitarist adeptly traversed his fret board. They received a good response from the small crowd. More...
Metalsucks.net's South By South Death showcase featured guitar shredders. Tech death bands Archspire and Allegaeon were in full force, but before they hammered out their first blast beats, a different kind of shredder took the stage. Myrone is a one-man guitar virtuoso hailing out of Los Angeles, California. The sole member of Myrone was similar to Buckethead in that he wore a mask. Many of the long notes he held was reminiscent of Joe Satriani. He later admitted to me that Satriani is a major influence. He played his guitar over top of ‘80s style keyboard samples, which were part of a soundtrack to a video game.
Dirty Dog Bar hosted the night’s show. The bar will host metal showcases through most of the duration of South By Southwest. The Dirty Dog is located on Sixth Street, a place of reputed drunken revelry due to so many bars lining its streets. Alcohol consumption was in full force tonight being Saint Patrick’s day. Hordes of green clad patrons wearing beads walked from bar to bar, sometimes with the assistance of others, seeking hops and other beverages. The drunkenness wasn’t too obnoxious, but when you introduce this much alcohol fights are bound to occur. One happened right on the sidewalk next to the venue. The initial crowd inside the bar was somewhat docile.
Before focusing on the bands at the Dirty Dog, I want to revisit some of my activities from days prior. SXSW is not just devoted to music. There is a film, education and interactive portion. On Sunday, two days after the start of film portion, I got my picture taken on the throne from Game of Thrones. It took us about an hour to get through the line to have a few seconds to take a picture. I thought the throne looked more realistic on TV only because we’re just seeing the top portion on screen. Once it was done I received a “mix tape” that was nothing more than cheap ear buds. We left the “SXSWestoros” exhibit on 5th Street and made our way to Congress to visit Robert Rodriguez’s museum. He had artwork by fantasy painter Frank Frazetta on display. The detail was much sharper in his paintings than his posters and book cover art. It was interesting to see the paintings that inspired the look of Conan The Barbarian. More...
Can 21st-century metalheads ever be truly happy if they’re not bitching about something on the web?
The pointless arguments over bands’ music, which mostly boil down to matters of taste, are exhausting enough. And there’s a simple solution to dissatisfaction with a particular tour package: stay home and masturbate.
But complaining about festival lineups? Really?
I have some news for you, sport: the only Perfect Metal Festival Lineup, which exists only in an individual’s imagination, attracts an audience of one. Your Perfect Lineup is different from mine.
There needs to be a common denominator, a compromise. I don’t know about you, but when I’m not basking in my serene, elite metal knowledge via trve and righteous, smarmy and self-congratulatory screeds on Facebook, I actually enjoy watching a live show in the company of others. And in reaching the compromise to make that social event possible, everyone’s Perfect Lineup inevitably becomes less than perfect. Such is the transition from fantasy to reality.
In the process, like small children finally realizing that vegetables aren’t going to kill them, we learn that the reality is almost always better than the fantasy (discounting the fact that the latter doesn’t exist). MTV’s Butt-Head once mused on this very issue: “If nothing sucked, and everything was, like, cool all the time… how would you KNOW it was cool?”
At a several-day festival with dozens of bands on multiple stages, we NEED at least a handful of acts we know we can ignore. Otherwise, think of the immense pressure to be constantly on our feet, rushing back and forth, watching every equally important band with rapt attention. Even if possible, it would be simply overwhelming. We’d pass out from exhaustion and forget to enjoy ourselves. Plus, the truly special acts wouldn’t seem as special.
Last summer at Tuska Open Air in Helsinki, rather than bitch about the injustice of Bring Me The Horizon directly preceding Anthrax, I was grateful for the chance to relax and have a beer before catching a show by one of the Big Four. More...
The king of shock rock Alice Cooper put on a special show at ACL Live at the Moody Theater. Not only was the evening devoted entirely to the Alice Cooper band, no openers, the group recorded the show for pay-per-view. It was a special night for me because this was my first Alice Cooper show. It would not be one of those shows that made me say I wish I saw him when he was younger. Vincent Damon Furnier may have just turned 67 but he performed with the gusto of a young man. His voice was in peak condition and held up the entire hour and a half. More...
Machine Head is the heaviest metal band in the world.
You’re probably already spitting your beer all over your computer screen.
Let me explain. We’ve all heard the complaints of modern production woes, the trendy obsession with blinding speed and out-tech-ing each other, and the resultant dearth of memorable songwriting. Chances are you’ve done quite a bit of this complaining yourself. I know I have.
I know what brutal death metal is; and black metal, and grindcore, and so on. I know how “extreme” metal can get, and I’m a fan of tons of that stuff. I’m a metal journalist. It’s my job to know these things.
There are several reasons, each having to do with the merits of each individual instrument and the man playing it, for Machine Head’s status as Heaviest Metal Band in the World. To go with the most obvious reason, I will tell you right now that no one, and I mean NO ONE, comes close to touching Mr. Robert Flynn in terms of absolute, raw, uncut vocal intensity. Two decades and eight albums deep into Machine Head’s career, he has become a monster.
Guttural death growls, atonal black metal shrieks, I’ve heard it all. I love a great deal of it. But you know what? Little of it shocks or scares me anymore. Precious few bands of the elite-approved, underground, “extreme” variety actually provoke a sense of DANGER in me. Robb Flynn does.
The secret is passion. Unbridled, burning passion, rage, and all-around emotion. Flynn’s voice, at its harshest, is the sound of a man threatening to rip your head off and meaning it. At its softest, it’s the sound of a grieving mourner at a funeral, choking his way through a moving hymn. These two poles, and everything between, are part and parcel of the same experience: pure emotion, and pure intensity.
The guitars and rhythm section follow suit. For all the band’s stylistic evolution and musical expansion over the years, the core ingredient of bone-crushing groove remains unchanged. Whether the band is veering into thrashy or sludgy territory, it doesn’t matter: you can truly BANG YOUR HEAD to this stuff. Machine Head's riffing whips up a kind of aural stigmata, wherein you almost feel the brutal pain of a sledgehammer impacting your body.
All of this translates directly to the live setting. Machine Head are a live band at heart (and many bands of the technical sort are decidedly not). They’ve always sounded that way on record, because their music is MEANT to be experienced in concert. Think of that word’s other meaning: union, harmony. In this case, a bonding between artist and fan. A collective sharing of passion, rage, euphoria, lamentation. EMOTION. More...
Death To All has been a functional unit for a couple of years. The band or cover band, if you will, toured in 2012 and 2013 with the “Human” era lineup. The band’s stop in Austin, thanks to Come And Take It Productions, included members from the progressive era of the band. This lineup included Steve DiGiorgio (“Human,” “Individual Thought Patterns”) bass and Bobby Koelbe (“Symbolic”) guitar. Gene Hoglan (“Individual Thought Patterns,” “Symbolic”) replaced Sein Reifert on drums and Max Phelps of Cynic once again played the role of Chuck Schuldiner on guitar and vocals. More...
Austin punk hangout Red 7 hosted D.R.I. the night before, a band that coincidentally hugely influenced Municipal Waste. Although “Land Phil” Hall plays in Municipal Waste, it was his love for death metal, not crossover that brought him into Austin this night. This time he joined with his brother Josh “Hallhammer” Hall and new guitarist Brandon Ellis in support of the band’s latest full-length recording “From Wisdom To Baked" on an Austin stop that is part of a Metal Underground.com sponsored tour.
Before hearing songs of bud monsters and weed-induced murderous rampages, three opening bands sparked up the festivities. San Antonio brutal death squad Flesh Hoarder initiated the melee. The group was short two members due to it having taken on the show on short notice. Ryan Sylvie of Whore of Bethlehem filled in for Nick Moreno and the band played without guitarist Angel Tarin. It’s been a couple of years since Sylvie fronted Scattered Remains, but he was up to the task, as was the band. The group played a mix of slamming rhythms, guttural voices, quick cymbal strikes and down-tempo riffs in the vein of Immolation and Morbid Angel. Songs like “Ejaculating on the Faces of the Aborted” kept their set utterly offensive. More...
I arrived at the venue early, picking my way over snow that had turned to treacherously slippery ice in the weak Saturday sun. Moving through the now familiar steps of collecting my photo-pass, putting my winter layers in at the cloakroom, and trailing upstairs to the main venue area, I suddenly felt a burst of homesickness.
Rotten Sound is a Finnish deathgrind band originally from Vaasa. If you haven’t heard of them, you might have heard of their former drummer, Kai Hahto. They are intense, they are in your face and they are addictive to see live. The area in front of the stage was half-filled with enthusiastic fans, giving an illusion to not many people being at the venue yet. However, the small stage-level bar was
already packed and the railings of the balcony bar were filled.
Austin crust punks with their spiked and patched jean jackets came out to Red 7 to support one of the first bands to “crossover” hardcore punk and thrash metal, D.R.I. Most of these punks (including me) weren’t part of the scene when D.R.I., Dirty Rotten Imbeciles, formed more than 30 years ago in Houston. Even some of the older members of the crowd weren’t around during the band’s days in Texas. Their memories were long after the band left for California’s Bay Area. The crowd didn’t need to be 50 years old tonight, though, as D.R.I. played nearly two hours of material spanning throughout their long career. More...
In support of the new album Distant Satellites (reviewed here), Anathema has embarked on a European tour along with Mother's Cake that we were lucky enough to have had touch base in Helsinki!
I was unsure of what to expect from a band with roots in death/doom metal, who have so effectively managed to transition and grow over the years into an entity that truly emphasized the word “progressive.” However, it’s always best to expect the unexpected so we showed up early and in plenty of time to spend way too many euros at the merch stand and went on our merry way inside! More...
Most of us in metal love to complain about trolling, irrational vitriol, subgenre tribalism, and elitism online. Not to mention the fact that most of said complaining also takes place online.
It’s like plugging the cord of a power strip into the strip itself and expecting it to produce juice. No wonder nothing positive ever seems to get accomplished.
So how do we fix this?
Well, we can’t. At least we can’t fix others. We can, however, control ourselves and try new things from time to time. And when considering just how ridiculously much time we spend drooling in front of our screens, the simple act of attending live music concerts is indeed a “new thing,” or at least a relatively seldom thing. Sort of like shutting off Facebook and actually writing your best friend a letter.
But don’t the same issues manifest in our local clubs? A package tour comes to town, containing bands with separate (or, at best, overlapping) fanbases, which promptly begin to work against each other. Show me such a concert that isn’t brimming with guys judging each other’s perceived tastes, putting on airs by boasting “I’m only here for [insert obscure opener],” and I’ll show you my fourth nipple.
How about major European-style summer festivals? Don’t get me started. Don’t get me wrong, either; they’re ten tons of fun. But often the numbers are too immense for any type of bonding to occur on a mass scale. Crowds usually just devolve into cliques, all corresponding to their chosen favorite acts.
So there needs to be a middle ground. A unique event, rare and special enough to draw the enthusiastic, but familiar enough to include the curious. Small and precarious enough to forestall any jaded complacency, and large enough to foster a carnival atmosphere.
The musical equivalent of a big group of friends around a campfire, bonded not only by the fun they’re sharing, but also by the knowledge that one bad attitude will douse the good time in cold water.
For me, the DeLand Rock & Metal Festival was that event. And for the moment, it has alleviated some of my cynicism over the much-ballyhooed “brotherhood and sisterhood” concepts thrown around in metal.
Here, in central Florida, from November 7th through the 9th, these bonds were very much alive.
On Tuesday November 18th, PBS stood for Public Bruising Service as The Moody Theater filmed Slayer for another broadcast of ACL Live. Not only did Slayer bring the darkest and fastest songs to ever appear on public broadcasting, they did it with an old school thrasher’s dream lineup of Exodus and Suicidal Tendencies supporting. Fans were treated to one of the best light shows, sound systems and seating in the town of Austin. More...
Past Fun Fun Fun Festivals that I covered featured one or two metal headliners on the black stage and one day dominated by punk. This year the third day of the festival included punk but rock in general was the main flavor of the day. Metal was not the style closing out the Black Stage, but headliner Murder City Devils played hard and heavy. There is something about this band that just fits with the festival, as the Seattle-based band made it’s third appearance. The garage rock group played powerful hooks and electric organ that sounded like The Doors making a soundtrack for a Hammer Horror film. I believe this was their first headline performance at FFF. The band was definitely up to it.