The heatwave scorching the U.S. has been following the Rockstar Energy Drink Mayhem Festival from shed to shed and leaned on Boston hard as the mercury hit 105 on the Comcast Center tarmac in Mansfield, Mass.
But that didn't stop me and 15,000 or so fellow headbangers from slipping on our black T-shirts and standing in the blistering sun for 10 hours to get our fill of the biggest metal tour of the summer.
Most people in Boston were in the shade, a pool, the beach or some sort of air conditioned locale, but legions of soaked fans stood on the red-hot concrete for hours watching their favorite bands pay them back in spades.
As if it weren't painful enough to just be outside, the Boston crowd didn't disappoint the bands as pit after massive pit opened up across the venue. By the time Jamey Jasta, Kirk Windstein and the rest of Kingdom of Sorrow ripped into "Enlightened to Extinction," the outdoor stage area was a sea of sweaty, swirling, sunburned bodies. With security hosing down the masses, Windstein was a riff machine and Jasta - one of the hardest working dudes in metal - was on point, as usual. More...
Clutch recently came through Huntington, West Virginia, capping off a short run of tour dates to promote the band's forthcoming "Basket of Eggs" project.
I arrived at the V Club just after the first act has gone on stage. The door guy, who checked me for weapons on the way in was happy to chat with me, telling me I’ll never find a seat cause they’ve removed almost all the chairs, except for on the patio, plus the show has sold out, so standing room only may be an understatement. Then I went to the bar, focusing on the opening act, who I was surprised to hear is playing reggae.
Groundscore, a punk/rock/reggae trio from our nation’s capital was laying down the good vibes up on stage. Despite my initial surprise, I was not disappointed, nor do I think the audience of some 100+ people, many packed in front of the stage, were either. I found myself easily slipping into the mellow infectious reggae grooves, the bluesy rock guitar solos, and suddenly invigorated by the bursts of punk jams.
The trio was just on the heels of the their second full length release, "Speed Kills," the title track of which they played to a head bobbing, swaying audience. Groundscore seemed an appropriate warm up act for a hot Sunday evening, the kind of music that is cool for the kids, non-abrasive to parents, just good fun music with positive energy. More...
This past Saturday White Studio at Fort Canning played host to Singapore Death Fest 2011, a gathering of some of Asia’s best and most brutal grind and death metal bands.
Fiaz Grinder, who also plays bass in Singaporean death metal act Asilent, organized the fest along with Wormrot vocalist Arif Rot and production company Echo Productions. All worked extremely hard in the weeks leading up to the fest and on the weekend of the fest itself in particular, basically forgoing sleep from Friday through Sunday to make sure everything went smoothly, and without a hitch things did go off.
The venue was an interesting one, with White Studio being named for its virginal white walls, floor, and ceiling, and with the room being housed in a colonial era British military fort atop a hill in central Singapore. About 150 die hard metal heads from the Singapore scene began to gather early in the afternoon to mingle and peruse the bands’ merchandise before the late afternoon start time. At just after four p.m., the doors were opened, and the mayhem could begin. More...
I hadn't seen Children of Bodom live since the band opened for Megadeth back in 2008, so of course I was anxious to see the group play again. The fact that Children of Bodom was playing with Devin Townsend and Septicflesh just made this show that much harder to overlook. Plus the fact that The House of Blues has a great location and is known for providing great sound quality sweetened the deal.
After meeting an interviewing Devin Townsend himself for an interview that will be posted shortly, as well as getting my Strapping Young Lad collection signed, I unfortunately had to deal with The House of Blues draconian security, which required me to leave the backstage area, get a ticket after being confirmed to be on the guest list, head to the back of the line and then reenter the venue. So I'd personally like the thank the management, box office, and security for helping the most impatient man you'll ever meet reenter a venue that he already had access to.
Thankfully this was only a mere hour-long inconvenience and I was able to enter the venue in time to see Septicflesh. While I actually enjoy Septicflesh's albums, their stage show needs a bit of work. It's too theatrical and artificial. The mic stand shaped like a Lovcraftian Eldrich Abomination as well as Spiros Antoniou's overly flamboyant stage presence crossed the line between enthralling and distracting for me. The band needs to tone things down a bit if it wants to be taken seriously, particularly in the North American market in which things are far less pretentious than the band's native Europe. More...
Grilled Burgers, Corona and a handful of all-American rock n roll were on the agenda for this year’s 4th of July celebration. The only Independence Day fixture mixing from this equation was fireworks, and due to unrelenting drought, Austinites would have to drive to a satellite community to participate in that tradition. The Spider House Café played host to these festivities. Billed as the “Summer of Sam,” the bill featured a variety of acts of varying style.
For the most part, “Summer of Sam” was a two-stage local band festival. The Sword is a national powerhouse, but still an Austin-based group. The club kept The Sword’s performance on the down low, printing a TBA special guest on the show’s flyer. By far the most popular metal/hard rock act in Austin, most of The Sword’s shows often sell out, so this word-of-mouth performance kept the small club from bulging at the seems, although the group still played to a packed house.
Situated near the campus of University of Texas (hook ‘em Horns), the Spider House Café features an indoor and outdoor stage and an outdoor patio that seems to never end. The event kicked off outdoors around 3 PM. An outdoor bar provided beer to wash down the smoker-grilled hamburgers. The burgers were the school-cafeteria-bulk variety, but costing a dollar a sandwich, nobody complained about the quality.
Arriving around 5 PM, my introduction to the outdoor stage came in the form of electro goth rockers Troller. The guy/girl combo merged vocals amidst heavenly tones of ethereal electronica. One patron told me the beautiful female vocals reminded him of the beautiful-but-deadly song of the mythical Siren. TA of Hod and Ancient VVisdom hailed the group’s music as “fuck music.” I couldn’t disagree with either of those descriptions. I don’t often see goth bands, so their performance was a nice change of pace. According to the band’s Myspace page, Troller is brand new. I expect to see their names on flyers for Austin’s goth-industrial club, Elysium. More...
Scream The Prayer is a touring metal and hardcore festival of sorts, already in its fourth year, that packs the stage with bands that specialize in redefining what counts as a Christian worship service. The bands associated with the tour this year are as follows: Norma Jean, Sleeping Giant, The Chariot, War of Ages, Close Your Eyes, Texas In July, I The Breather, The Great Commission, As Hell Retreats, and Sovereign Strength. From beginning to end, each band worked towards bringing the word of God to the masses in the form of relentless heavy metal.
Regardless of your stance on religion, you have to commend these bands for their drive. On July 1st, I was on hand to catch the first date of this 2011 tour. More...
Fatigue had definitely begun to set in by Day Four. Through the beer belly, muscle ache (everyone’s hotel was up the hill), blown-out senses, and heat I thought could only happen in the south, I persevered though badly worn. The venue was getting pretty rough also. Everyone was tired, but still partying hard. Inside it was sticky and stinky like it had not been before. But that didn’t stop anyone from enjoying the rest of the great lineup on the last day of the mighty MDF.
Bright and early in the afternoon (although it seemed like night in the main room), hometown boys Visceral Disgorge began the festivities. They brought to mind the early works of death metal. Trauma and gore galore, this band encompassed the snarl inhaled low growls, din-destroying high tuned snare, gallop picking guitar done by Eric.
Bad acid Trip’s singer Dirk Rogers opening question to us was, “Is everyone drunk?,” and by just the sight of the crowd through the hours it was obvious that we all were. Crazed rock riffage and grindcore led this band to a energetic frenzy. Dirk was like Ian Curtis and Johnny Rotten; a twisted love child onstage. This band had true dynamic ranging from guttural blasts to hardcore breakdowns to strange, psychotic circus dementia. More...
After the grey and miserable weather the day before, it was nice to awake on the final day of Graspop and be greeted with plenty of sunshine. While that may not have been the most metal sentence I have ever written, the roster of bands on display may well have been the most extreme of the weekend.
Like the previous day, we wasted a little time in the campsite before heading into the main area to catch the second main stage band, in today's case, Canadian heavy metal heroes, Anvil. Of course, everyone knows the story of Anvil by now, and perhaps that's made this set such a special one. From the opening guitar shrieks of "March Of The Crabs/666" there were smiles all around, not least from frontman Steve "Lips" Kudrow. The fact that everyone could see how much fun the band were having made the fans enjoy it all the more, which I'm sure in turn only fueled the smiles on the faces of Anvil. It might seem a strange word to use to describe a performance from a metal band, but Anvil are a really fun live experience. It's impossible to watch them and not headbang or raise the horns. Kudrow's interaction with the crowd is simply great, not least because he doesn't patronise the audience with cliche lines like "Are you ready to party?" I was also impressed by his ability to perform his guitar duties flawlessly, while still singing. Drummer Rob Reiner and bassist Glenn Five also deserve alot of credit, as their skills were on full display today, particularly Reiner's during, "White Rhino." Having only a fairly short set, only three songs from the group's new album, "Juggernaut Of Justice" were performed today, namely the title track, "On Fire" and "New Orleans Voodoo," but they all went down well with the crowd, who did their best to sing along to the latter. Another highlight came during Kudrow's guitar solo, which he did by playing his axe with a vibrator. An unorthodox method, but effective. As one might expect, they closed their set with the anthemic, "Metal On Metal," which went down a treat for all viewing. While they may not be the greatest heavy metal band to ever grace the Earth, they might well be one of the most enjoyable and were a great way to start the day.
It was then over to Marquee 2 for a little crossover thrash from D.R.I. (Dirty Rotten Imbeciles.) There were plenty of old school thrashers in attendance for them, complete with upturned caps and white shoes, and they all seemed to enjoy what they were witnessing. As much as I've always liked the band and crossover in general, I found watching them for as long as I did to be a little much, as most songs follow a similar formula, resulting in the performance getting a little boring after a short while. It seems I was not alone in this opinion, as there were plenty who came in to watch, then left after a couple of songs. D.R.I. are, like Anvil, all about having fun, but they don't possess the same stage presence. Songs like "Snap/I'd Rather Be Sleeping" and "Asleep At The Wheel" are always good to hear, but they felt rather tame today. Perhaps it would be better to catch them in a small club setting, because they weren't able to make it work in the Marquee. More...
Being awoken by drunks at a festival is to be expected, being awoken by rain, was not. The second day of the Graspop Metal Meeting was considerably more dreary than the first when it came to weather, but just like the first day, there was still a fantastic lineup of metal to look forward to.
After deciding to stick around in the campsites for a little while, we headed into the main area to be greeted by the frustrating news that tonight's headliner, Ozzy Osbourne, has cancelled his performance due to laryngitis. Instead, second from top Judas Priest would be taking over the headlining position with an extended two hour set and Belgian metal veterans Channel Zero would be stepping in to fill the empty slot, bumping Whitesnake up the bill in the process.
Although we missed the first couple of bands on saturday, we arrived with plenty of time to catch the second band on the main stage, Italian gothic rockers Lacuna Coil. The band performed a solid set with material which focused mostly on their last three albums, "Comalies," "Karmacode" and "Shallow Life" and were on fine form. Although singer Cristina Scabbia receives much of the attention lavished on the band, her singing partner Andrea Ferro also deserves a huge amount of recognition, as both singers voices sounded absolutely perfect. The fans were clearly enjoying it too, otherwise they wouldn't have stayed throughout the entire set in the miserable weather, not just bearing the climate, but singing along and raising their hands too. Scabbia carried herself on stage with a real ballsy attitude, the kind that shows just how well women really can fit into rock and metal music, and was able to coax the crowd into singing as loud as they could for the Depeche Mode cover, "Enjoy The Silence." I must say there were a few songs I was hoping it would be included in the set that weren't, most notably, "Swamped," but nevertheless, they were still a captivating live spectacle and disappointed no-one.
It would then be a while before I was to catch another set in full, having only caught a few songs from Kylesa in one of the Marquees to avoid the rain and watching the first song from Greek power metal outfit Firewind before deciding it was time to eat. In any case, we made sure we were in Marquee 1 with plenty of time to spare to catch Triptykon, one of the main reasons I wanted to return to Graspop. Following their chilling, "Crucifixus" intro, the band broke into the Celtic Frost classic, "Procreation Of The Wicked." The song went down a storm but in all honesty, took some time to recognise as it has become a much slower and more doom metal laden affair than what is heard on the "Morbid Tales" album. It was truely a thrill to see Tom G. Warrior back on stage, displaying the dark intensity that has made him such a popular figure in metal music for almost three decades. He wasn't the only notable member of the band too, as Dark Fortress guitarist V. Santura was able to perform with total accuracy and bassist Vanja Slajh showed everyone that she has a mesmerising stage presence too. After "Procreation..." the band busted out one of their own tracks in the form of "Eparistera Daimones" opener, "Goetia," before heading back into more familiar territory with another Celtic Frost song, this time "Circle Of The Tyrants." Warrior thanked the fans afterwards, displaying the utmost sincerity and grattitude for the warm welcome the audience had given Triptykon, before launching into another Frost staple, "Babylon Fell." Only four songs into the set and it was time for the last, in this case, Triptykon's album closer, "The Prolonging." It takes some balls to perform a twenty minute song at a festival and it takes alot of musicianship and charisma to keep the crowd interested, which is exactly what they did. "The Prolonging" is clearly a song the group are very proud of, as performing it meant that they had to cut out other brilliant songs both of their own and the Frost catalogue. Having seen Celtic Frost before, I can say that seeing Triptykon is as close as one can get but with the added bonus of their own, outstanding material. I eagerly await seeing them again. More...
Another edition of Asia Metal Festival went off this past weekend in Seoul, South Korea, bringing together extreme metal bands from all parts of the metal spectrum hailing from the host nation, Japan, Taiwan, and the U.K.
Roughly 600 fans, largely from South Korea but also with a large ex-pat contingent from the U.S., Canada, and all over Europe, turned up for the event in raucous anticipation of headliner Napalm Death’s first appearance on Korean soil.
Seoul melodic death metal act Terrormight kicked off the evening, or rather late afternoon with the festival’s 4:30 start time. The five piece band took full advantage of their 25-minute time slot, showcasing their rich, early-era In Flames sound with a keyboardist adding some rich underlying textures. Many punters showed up early and were ready to expend some energy, head banging enthusiastically at the front of the stage at V Hall in the city’s Hongdae District, an area filled with restaurants, bars, and drunken revelers of all ages. More...
There is absolutely no question about it, if you want to go to a metal festival, go to a European one. Wacken Open Air and Download might well be the most famous, with the Sonisphere events gaining plenty of exposure too, but for my money, it just doesn't get any better than Graspop Metal Meeting, which takes place in a small town in Belgium called Dessel. This would be my third time attending the event, and more likely than not, it won't be the last.
The festival kicked off on Friday the 24th with a rather unusual choice of band, namely FM. The band features two former members of New Wave Of British Heavy Metal band, Samson but their style is much more album orientated rock than metal. Nevertheless, they proved to be a good way to start the festivities, opening with the song, "Wildside." As it was only half past eleven in the morning and the majority of the crowd had been up all night drinking and shouting, "TIMMY!" it took the audience a little while to get into the mood. In any case, they were still very appreciative of FM and perhaps the biggest response came when the band performed a cover of "Heard It Through The Grapevine," a song made famous by soul legend Marvin Gaye. Maybe it would have been better to start with something a little heavier, but either way, FM put in a solid performance and were warmly received.
After deciding to skip the first bands on the Marquees, we hung around the main stage to wait for the next band, Dio Disciples. I've always liked "Ripper" Owens and felt that he doesn't get the credit he deserves so the prospect of him singing Dio songs this afternoon seemed quite interesting. "Interesting" didn't quite cover Dio Disciples though, as when they took the stage, they instantly proved themselves to be an outstanding way to remember Ronnie James Dio. Owens was in top form for the performance, which opened with "Stand Up And Shout" before leading into the classic, "Holy Diver." Owens isn't the only vocalist in the band either, as he is joined by Little Angels singer Toby Jepson, who was just as impressive as Owens and whose voice was absolutely magnifficent. The group frequently got the crowd to cheer as loud as they could whenever Dio's name was mentioned and most importantly, they seemed to be genuine about what they were doing. Make no mistake, Dio Disciples are not a cash in, they are one of the most heartfelt tributes to anything you will ever see. If Dio could see his music living on like this, with two amazing vocalists leading the charge, he would be proud. More...
What really attracted me to this show, in addition to the prospect of multiple interviews, was the sheer diversity of the tour package. It was assembled as a promotional tour by Victory Records to showcase some of their big and emerging rock/metal acts, and early on, I’d gathered from a mere glance at the bill that every band would sound substantially different. As it turns out, that wasn’t the half of it.
Happy coincidence placed me in the great state of Virginia, on my annual pilgrimage to my childhood roots, when Otep & Co. stopped at Jaxx in Springfield. I hadn’t been to Jaxx in eight years, so this show was more or less an extension of my nostalgic long-weekend romp through my past. To boot, Saturday, June 18th was beautiful and sunny, and the late afternoon and evening were shaping up to be quite pleasant too. I arrived early with my brother, wingman, and fellow metal fan Will “Fresh Prince” Smith as the line outside the door was beginning to form, and in due time, we’d knocked out a pair of killer interviews with Paul Ablaze and Ari Mihalopoulos – devoted fitness freaks and smiling frontmen for support acts Blackguard and Destrophy, respectively. Unfortunately, Otep herself was battling a sore throat, and her diplomatic tour manager Tristan was forced to cancel my planned interview so she could save her voice for that night’s performance. On the upside, I was promised a chance to make it up via telephone, and our names remained on the guest list.
While Jaxx hosts innumerable high-profile metal acts, it is not a large club – the capacity is considerably less than 1,000. That occasionally makes for a tight squeeze, but the atmosphere is pretty cozy and the layout is comfortably symmetrical. The small box office lobby at the venue’s rear corner leads to an open, dimly lit space with a long bar, flanked by two narrow corridors (along with two pairs of restrooms) that open up into the venue proper. At this point, you’ll find yourself standing on a raised platform that rings the stage in a horseshoe, with another bar in the center rear, and space for merch tables along the sides. Pretty standard, but streamlined and efficient. I enjoyed taking it all in and soaking up the lingering memories from my high school days, back before I could legally order a drink… That reminded me to get my ass to the bar and christen it. More...
The ninth annual edition of the Maryland Deathfest has grown into a four day affair, spanning Thursday night, Friday, Saturday and Sunday of Memorial Day weekend. Despite a last minute scare with Sonar possibly closing down, the even took place at Sonar, with the outdoor stages at either end of a closed off Saratoga Street.
This year, Metalunderground.com writer Emily Hingle (aka Buick McKane) was on hand for the entire festival (you can read her reports from day 1 and day 2) and Doug Gibson (aka deathbringer) was present on Saturday.
After an adventurous drive around the venue a few times trying to figure out how to reach the parking lot with Saratoga Street closed off, I finally arrived in time to see Creative Waste’s set. Sonar is a dark venue at any time, but entering from the afternoon sunlight, it seemed pitch black and took a few minutes to adjust.
Creative Waste took the stage and their sound was painfully loud. And they’re only a three-piece band, with a vocalist, guitarist and drummer - no bassist. The Saudi band described themselves as grindcore, but sounded more like a very hardcore influenced brand of metal. The music wasn’t my thing and the excessive volume that was not pleasant even with ear plugs sealed the deal for me.
Mammoth Grinder took the stage next, and I didn’t recognize them at first. The first few songs sounded a bit thin and reminded me of Prong, who while I enjoy, always had a weaker sound as a 3-piece. A few songs into their set, things got heavier and thrashier, evoking thoughts of Slayer. Then I recognized them as the band I saw at SXSW earlier this year. The remainder of their set was fast and heavy and made Mammoth Grinder the best band I witnessed on the inside stage that day. More...
A rush of cool air relieved my over-taxed pores when I entered Jackalopes. I walked past a girl wearing a Danzig shirt posing for a picture on top of a statue of a giant jackrabbit with horns—the fabled Jackalope. I not only sought shelter from the one-hundred-three-degree inferno that blazed outside, it helped me kill time before Emo’s opened its door a hour-and-a-half later.
While devouring one of the juiciest burgers in town, I noticed other metal heads wearing various death metal shirts entering the establishment. Located just a couple of blocks from the venue, the metal-friendly bar and grill catered to those awaiting the coming death metal onslaught.
In route to the bar, I noticed one of the more conspicuous fans on the other side of the street. Wearing corpse paint that may have been patterned from an old Satyricon or Gorgoroth photo, this fan’s black attire seemed in defiance of the sun’s powerful rays. I guess nobody told this guy he was going to a death metal show. Also, the heat surely streaked his makeup, most likely stinging his eyes. What he lacked in brains he made up for in dedication, though (even though this was a death metal show).
Three or four people stood near the touring vans outside the venue when I walked past Emo’s at around 6:30. The line grew to the front of the next venue when I returned at 7:30. Soon, the line grew to the end of the block—a good sign for the five bands due on stage. The venue opened close to its scheduled time of 8 PM. More...
On Day Two, the scene had changed. The street in front of the club had been shut down and made into the fest grounds. One stage was at each end of the street, just over the length of the building. I won’t say that the festival had a lot of space; we were kind of worried about bands overlapping and drowning out each other’s sound. But the rigs for each stage were so loud that that would prove impossible. Vendors also lined up between the two stages selling boxes of vinyl, CDs, and even some cassettes. There were t-shirts galore with hideous pictures and illegible logos. I was really amused by the black metal face-painting stand where you could choose from KISS, Immortal, King Diamond, and your other favorite corpse-painted rockers. Inside Sonar was a new merch room that was so constantly crowded and oddly arranged, it kind of looked like a beggar’s village with really cool wares for sale. With so much drink, food, merchandise from every band in existence, and amazing live shows all day long, you couldn’t ask for more. More...
I’ve only heard half-remembered memories about this festival. I really had no idea what to expect about the stage lay-out, the area of town, the people, or the bar situation. As I walked down the hill to Sonar, I gradually saw the small bunch of metalheads walking in to see the first band Witchaven. I entered the main hall and followed the crude, hand-written signs explaining where the stage was in the dark, labyrinthine building. Entering into the main room for the first time was like stepping into a metal dream; coming from the hot, sunny outdoors to a cold, pitch black massive room with seemingly no end and seeing an awesome band already in progress with ultra bright flashing lights interrupting your vision and furthering the illusion of this chamber. More...
Death metal pioneers, Autopsy have made only a couple of festival appearances since their reformation in 2010. From 1995 to last year, ravenous gore fiends could receive Autopsy’s filthy sounds and images only through proxy groups containing Autopsy members such as The Ravenous and Abscess. With the release of “Macabre Eternal,” the group made another festival appearance for this year (the only appearance at this time) at one of the word’s biggest punk music festivals, Chaos in Tejas.
Yet another multi-venue festival in Austin, Texas, Chaos in Tejas celebrates punk in all its various forms. 130 bands including Cro-Mags, Doom, Killing Joke, Converge, Hooded Menace, Lärm, The Gates of Slumber and Orange Goblin performed in the festival’s seventh installment. Although not all acts were punk oriented, punk and its offspring of “core” acts were most numerous. Autopsy’s affection for grind fit well with the precluded power violence and core-grounded acts.
With a bill including bands unfamiliar to many fans of Autopsy, a $35-dollar entrance fee, and Autopsy’s prolonged absence; I assumed this show would have a small turnout. Just like SXSW in March, Chaos in Tejas venues swell to capacity. Every square inch of the venue’s outdoor stage and smoking patio was filled with raggedy-patched punks and longhairs. Maneuvering through the outskirts of the pit area proved difficult enough, but finding a place up front to take pictures proved near impossible.
Shooting the first band of the night means feeling out the crowd. I’m always a bit timid during the first shoot and my photos of Iron Lung reflect an unsuccessful trial run. The lack of personal space was bad enough, but crowd surfers and stage divers made photo positioning near impossible, at least at first. I became bolder with later sets by shoving my way through the crowd, using karate stances to maintain a base when the crowd became especially raucous and tending to my camera instead of providing a hand
or head for stage divers to land.
Iron Lung’s style defines the term power violence. The two-man group alternated blistering grind and crossover with sludgy, down tempo passages. Their singer’s tough hardcore vocal approach wasn’t to this writer’s liking, but their energy made a big impression, although without the same rousing effect as what the audience felt. I had never seen a band or show incite so much rowdiness. In addition to stage diving that I rarely witness at metal show (I believe the last one was Testament in 1995), I witnessed a guy hanging from the rafters like a god damn monkey.
Innumerable Forms was the only death metal band of the evening. The Massachusetts band played slow and heavy with reverence to iron boot sloshers Incantation, Grave and of course, Autopsy. IF only recorded one EP, so I’m not sure what material they used to fill their set. Their live sound was not as raw as their recording, which allowed a greater sense of audibility. Kudos goes to their singer for wearing a Paradise Lost long sleeve. He represented a depressive style mostly, if not fully, overlooked at this show.
After IF’s pace coagulated the blood of its onlookers, Extortion’s blitzkrieg attack was like a Bunsen burner to the crowds’ veins. Not much information exists about this aussie band’s origins on the Net, but apparently they’ve made a considerable sized dent into the world-wide punk scene because I heard many people say they were there to see the group…and the crowd went wild (phrase of the night). The group’s energy had much to do with the crowds’ reaction. Each song contained a million notes, but lasted only seconds. These kinds of songs offer little in terms of hooks and melody, but the band’s quick bass lines brought something to remember.
Taking the stage right before Autopsy, Citizens Arrest marked a good time to retreat from the heat before Autopsy’s onslaught. The NYC band played typical NYC hardcore with meaty, ringing chords and punk sensibilities. They occasionally played a catchy groove, but most of their sound owed to music typical to this style. Citizens Arrest was the closest band of the night to bearing to typical hardcore, and in that regard, were the least interesting artist of the night. More...
One of Germany’s Big Three thrash bands, Destruction, once again brought its unique brand of thrash/speed metal back to San Antonio, Texas. With nearly 30 years under their bulleted belts, the Teutonic veterans hoped their longevity and legendary cult status would result in a massive gathering of denim-n-leather-gauntlet-fisted bangers.
This would not be the case, though. Even an impressive array of suitable acts that included the return of second-wave Cali Bay thrashers Heathen, the Texas thrash collective Warbeast, German black thrashers Nocturnal and more thrash in Witchhaven failed to bring in the masses on this Tuesday night. However, the dismal turn out did not stop the small-but-loyal crowd from acting like complete maniacs.
What might turn out to be the best thrash tour of the year encountered problems at its Central Texas stop a couple weeks before the event. Originally slated to appear at the Dirty Dog in Austin, the show moved to Backstage Live in San Antonio. Austinites complained about the drive, the lack of quality beer and parking fees. Many from the area with plans of attending the Austin show didn’t make the trek to SA. Those close to the promoter, Motorbreath Entertainment, stated that Austin would have resulted in an even poorer turnout. San Antonio is a bigger city and supposedly, the metal capital of the world, but it didn’t live up to its name on this night. More...
"The Hypersleep Dialogues Trek" tour tore its way through North America and part of Canada over the course of a month, moving counter-clockwise from New York and ends up in Asheville, North Carolina tonight. As the name shows, Between The Buried and Me was supporting their new album, "The Parallax: Hypersleep Dialogues," and they brought a solid lineup to Nashville with them – Job For A Cowboy and The Ocean. On their stop through Rocketown on Friday, May 13th, the bands played to a familiar crowd. Three years earlier, Between The Buried and Me had recorded their show here at Rocketown and released it as a live CD/DVD package – "Colors Live."
As the line snaked around the large venue, funneling in for about an hour, you could overhear discussions about the rarity of bands like Between the Buried and Me, Opeth, and others who "could do whatever they wanted, and I’d always love ‘em." More...
The last “An Evening with...” tour that I saw was Metallica’s arena tour in the early ‘90s, which happened to be one of the best shows I’ve ever seen. It’s a great concept that I’m surprised more bands don’t try. I was happy to hear that Amon Amarth was putting on such a tour. Playing their latest album in its entirety for the first half of their set, followed by a complete set of other material was the perfect choice, seeing how great “Surtur Rising” is.