photo by Sinmara
(Andy Synn reviews the recent performances in London by The Great Old Ones, Bast, and Conjurer.)
Sometimes life hands you difficult choices. Case in point, Saturday I was torn between two fantastic shows down in old London town… Vader/Hate at The Underworld and The Great Old Ones at The Black Heart. What is a boy to do?
Seeing as how I selected Tekeli-li as one of my top 10 albums of last year (Critical Edition), and acknowledging the fact that I’ve seen both Vader and Hate before, I chose to plump for France’s acolytes of the great unknown, at the risk of my sanity and my very mortal soul.
But I’m getting ahead of myself here…
(BadWolf brings us this review of a live performance in Seattle by Enslaved, YOB, Ecstatic Vision, and Bell Witch, with photos by Madison Leiren.)
My Wednesday evening at El Corazon on March the 11th was, in many ways, a redemption shot. I was there to see local Seattle funeral doom merchants Bell Witch, as well as Philadelphia’s uncategorizable Ecstatic Vision, Eugene Oregon’s doom wunderkinds YOB, and Norway’s progressive black metal institution Enslaved.
To begin, here is my list of grievances to be resolved that evening:
First, grievances with myself:
(In this post BadWolf reviews the live performances by Mayhem, Watain, and Revenge at El Corazon in Seattle on January 27, 2015, with photos by Madison Lieren.)
For a minute there I was so inundated with European black metal, its tropes, and its lyrical hullabaloo, that I forgot about the genre’s troubled, violent, church-burning past, and in a sense that’s where I wanted to be from the get-go, since unlike some people I actually found the genre’s flirtations with homicide and terrorism to be a turn-off before I actually listened to the music.
Leave it to Norway’s Mayhem, original purveyors of quote-unquote dangerous black metal to drag me back into my discomfort zone by headlining the Black Metal Warfare tour, a nationwide trek wherein the second generation provocateurs, alongside Watain and Revenge, inspired mosh pits, threw blood on the crowd, and peddled tee shirts lionizing “Panic, Terror, Arson, Metal, Chaos.”
“Oh yeah, that’s right,” I thought to myself, looking at the merch rack hobbled in the corner of Seattle’s El Corazon, “I fucking love blowing stuff up. Silly me, where *did* my balls go?” A prescient thought, as the night wound up being a testament to testicular fortitude.
(Our man Austin Weber turns in this review, with his photos, of a recent performance by Felix Martin and company in Louisville, Kentucky.)
Beyond it’s aggressive attraction, metal at its core is about evolution and will, a desire to explore experimental and uncharted musical territory. In just the past few years, 14-string guitarist Felix Martin has been wowing audiences and expanding upon his unique blend of genres, playing largely in an eight-finger, two-handed tapping manner, one hand on each neck of a double-necked guitar configuration. His playing spans metal, jazz, blues, traditional Venezualuen music, country, and other genres that you’ll discover as as you delve into his back-catalogue, starting with his first record, Bizarre Rejection, a record that I’m proud to own.
Recently here at NCS, I wrote about his latest video, and also mentioned his most recent tour. Unfortunately for me, though, his tour date in my hometown of Louisville was added at the last minute, so I was unable to request time off work. This meant that I had to rush to the venue after work and missed the set of NCS favorites Barishi, arriving just as Felix Martin and his band were setting up. Really pissed that I missed Barishi because of work, but I tried to make it up to them by having Barishi and Felix Martin and his band stay at my place for the night.
(Austin Weber wrote this show review, and music streams are included.)
At the very beginning of 2014, January 14th to be exact, I was finally able to see upstart New York prog-metal wunderkinds Cryptodira for the first time live. It was a show that I covered for NCS with resident photographer Nik Vechery taking some killer pictures. I mention this because as we move into 2015, I got to see Cryptodira again, and eerily enough, just a day later in January than when I saw them last year. What another fitting start to the year.
Unfortunately, due to my boss not telling me he was able to get my shift covered until I showed up for work the night of the show, I was unable to have Nik accompany me and take pictures. Normally I would have borrowed someone’s camera, but I couldn’t make that happen on such short notice, so most of the photos in this post were taken on my sub-par quality phone camera, with a few Cryptodira shots taken by the fill-in vocalist for Wings Denied, Jeff Klemm.
(This is more than a show review… this is Andy Synn’s analysis of why Meshuggah rise far above their legions of imitators.)
Two nights ago I was lucky enough to witness the sheer awe-inspiring power of Meshuggah lay waste to a packed Roundhouse in London, as part of their 25th (!) Anniversary tour.
As I’m reviewing the show for another publication (because I am, at heart, a whore for attention and approbation) it didn’t seem right to also review it here for NCS. However, the whole experience did stimulate more than a few different thoughts in my head, and so I wanted to at least take the opportunity to write a few of them down, and maybe go a little deeper into exactly why I think Meshuggah are such an important, vital band in today’s metal scene.
(Combined in this post are two different reflections on the live performances by Sólstafir, Mortals, and Pallbearer in Seattle on December 10, 2014, one by BadWolf and one by me (Islander). And for a third, you should also read Gemma Alexander’s wonderful write-up at her own blog — here. Unless otherwise noted, the photos accompanying this post were taken by me on a iPhone because BadWolf forgot his fancy camera.)
REVIEW BY BADWOLF
A band whose time has come.
Those are the only words that suit Icelandic four-piece Sólstafir in 2014. Most musicians never achieve what I’ve witnessed this year in Sólstafir—a moment (well, series of moments) that seem like the culmination of disparate chains of events, causal and serendipitous. In short, a climax. The money shot, one that seems both cathartic and earned, not for Sólstafir’s listeners, but for the band themselves.
The band of black metal cowboys has made music for two decades in relative obscurity, at least in the United States. I first encountered the group while trawling message boards in college, ravenous for progressive metal and finding most of it lacking. Sólstafir were different. Their early tracks came via shady download sites in low bitrates, with files unable to properly display the accent marks in their song titles, but still I found myself enamored of their unique sound, a mix of atmospheric sludge and progressive black metal that strived for beauty, not abrasiveness. Since then the band became a perennial NCS favorite and inked a deal with Season of Mist records, who released their fourth album, Svartir Sandar to a wider audience. Still, conversationally, Sólstafir was a footnote in greater conversations, even though one of their songs debuted at #1 in Iceland.
On November 19, 2014, Jucifer, Ohlm, and New Bravado put on a show at the Headliner’s Music Hall in Louisville, Kentucky. Photographer Nik Vechery, whose work has accompanied show reviews at NCS on many past occasions, witnessed the destruction and documented what he saw in the photos you’re about to see.
We didn’t have any writers at this event, so the only written description we can provide is the message Nik sent along with the photos: ”It was a killer show. So damn loud I couldn’t hear the drums sometimes, hah.” As someone who has seen Jucifer before, I have a keen sense of what he means: Jucifer play with gut-liquifying levels of volume — and they do it really well. If you’ve never seen the rituals of this nomadic sludge metal death drone amplifier cult, you need to.
(We welcome our guest Jeff from the Life In the Vinyl Lane blog, who sent us this report on the Iceland Airwaves festival plus a few of his photos.)
“We are going to play a few songs about friendship and love… and hate! And the first song is about trucking.”
So began the set of Iceland’s heavy metal grandfathers, HAM. We are HAM!
It’s hard to believe that just yesterday I was in Reykjavik, Iceland, still in the afterglow of Iceland Airwaves 2014, and today I’m back in Seattle. Doing laundry and paying the bills that piled up while we were gone. How quickly things change.
If you’re not familiar with Airwaves, it’s a five-day music festival held in Reykjavik, a festival that covers just about the entire gamut of musical styles and genres, all seemingly, except country and jazz. It started in 1999 with a handful of bands playing in an airplane hanger and has morphed into a sprawling celebration of music spread out throughout downtown Reykjavik, featuring over 200 bands playing in every conceivable location – dedicated music venues, bars, clothing stores, hair salons, and a tent located outside a hot dog stand. You can’t walk a block without hearing live music. And it’s awesome.
(Our Nottingham-based writer Andy Synn ventured down to London to catch the Venereal Dawn Tour MMXIV and files this report, with video of the performances.)
From the moment it was announced, there really was no way I was going to miss this show. Two of my absolute favourite bands, Dark Fortress and Secrets of the Moon, along with one of this year’s best discoveries, the ineffable Schammasch, all on the same bill?
The fact that it was down in London, at The Underworld (a venue I’ve always loved) was both a blessing a curse, as it pretty much guaranteed a great sound and atmosphere for the night, but also necessitated leaving work early and making a three-hour (give or take) drive through the irritating London traffic.
Still, totally worth it.