Tag Archives: Metal

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Black Sabbath and “The End”of Madison Square Garden

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After buying my tickets as early as October (thanks to how quick the show was selling out) I was counting down the days until I’d finally see Black Sabbath on their final tour.

My life goal was to see Iron Maiden, Judas Priest and Sabbath before I (or more likely they) die. I had seen Judas Priest in 2011 and 2014 and Iron Maiden back in 2012.

To celebrate this event my friend Doug and I decided to get to NYC early and just do some random stuff. We went to various places and did random things such as me purchasing Killer Codom and Poultrygiest, him buying Elmo’s Letter Adventure of all things, eating suishi in a manga store, eating at Planet Hollywood and getting a picture of a wax Ozzy and trying to trick people on my Facebook into thinking I met him.

When it got closer to showtime, we walked to 34th street and entered Madison Square Garden.I always knew this venue was huge but was shocked about just how massive it was. We went to the very top floor (though Doug’s ticket wasn’t for that section) and waited for the show to start.

Rival Sons

The opening act was classic rock throwback Rival Sons. I hadn’t heard this band before, I just knew about them and that Doug really liked them (he had also seen them twice before). They came on stage and as soon as their first song “Electric Man” started I could instantly tell this would be a fun set. They were very bluesy, loud and the vocalist had great range. The sound was without a doubt Zeppelen influenced but they were able to give themselves a distinct sound and not sound like a cheap clone.

Black Sabbath

After Rival Sons explosive performance, it was time for the feature presentation. During Son’s set Doug was moved to his actual seat by security.

Black Sabbath started off with their self-titled song and as soon as that first note hit I was blown away. The sound was so spot on it was unbelievable. They then went into many classics such as “After Forever,” “Hand Of Doom” (which hasn’t been played since the 70’s),”War Pigs,” “Snowblind,” “N.I.B” and several more.

After “Rat Salad,” their touring drummer Tommy Clufetos did a long drum solo with flashing lights everywhere. Though this was a good solo it went on a little too long and made no sense to do as he’s not original drummer Bill Ward. After that solo they played “Iron Man,””Children of the Grave” and “Paranoid.” They also played “Dirty Women” which was an odd choice.

Although Sabbath played an hour and 20 minute set, it went by fast. My only problem was that other than “Dirty Women,” they didn’t play anything past “Volume 4.” It would have been nice to hear something from “Sabbath Bloody Sabbath” or “Sabotage.” After the show, I met up with Doug who was hanging with our friends Jason and Rob and we left the venue after witnessing one of the best concerts any of us may ever see.

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Cannibal Corpse Tear Down Irving Plaza

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After Killing Joke canceled their North American tour, I decided to look for another show to fill the void – and what better to fill it with than a lineup of Cannibal Corpse, Obituary, Cryptopsy and Abysmal Dawn? I had school until 3:45 p.m. last Tuesday and once it was over I raced from Newburgh to Middletown, got Wendy’s, picked up my friend Jay and then took the bus to New York City. We got there around 7:30 p.m. and made our way to Irving Plaza for a night of death metal.

Cryptopsy

Due to the bus dropping us off later than expected, we would not be able to catch Abysmal Dawn. Neither of us were fans so we chalked it up as an “oh well.” We got to the venue at around 8:15  p.m. – just in time for Cryptopsy. Due to the crowded audience I went up to the balcony and looked for a spot to watch the band. Out of the three bands we saw that night they were the only one I hadn’t seen before and was most anxious to see. Sure, the band doesn’t have Lord Worm anymore but they still sounded sick when playing classics like “Slit Your Guts” and “Phobophile.”

Obituary

https://youtu.be/1b5_qVwj1R4

After Cryptopsy finished I met up with my friend Branden at the merch table. We went to the top floor where Jay was and watched Obituary’s set from the screen. This was my second time seeing them, the first being at last years Maryland Deathfest. Like MDF, they didn’t play much classic material but still sounded great. Definitely a band that sounds better live than on the albums.

Cannibal Corpse

Last but not least were death metal heavyweights Cannibal Corpse. This was my fourth time seeing them and they never fail to impress. The band played a 13 song set covering all eras.” Scourge of Iron,” “I Cum Blood,” “Hammer Smashed Face,” “Devoured By Vermin” and many more classics were played. Oddly enough, they didn’t play “Fucked With A Knife” but after hearing it live three times it didn’t bother me. Like always, Corpsegrinder and company showed great energy and a sense of humor. After the show Branden, Jay and I left and took the bus back to Middletown.

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The Vault: Top Ten Metal Albums of 2013

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Editor’s Note: In the wacky world of publishing, some stories don’t see the light of day. Whether they sit on the backburner until they become irrelevant, positions change hands or they just plain get cut, it’s just one of those things. Today, one of those unpublished articles will finally get its due as we traverse the archives of “The Vault.”

2013 was a year of madness and mayhem. Plenty of albums came out, but only a few stand out way above the rest. In no particular order, here are my ten best metal albums of 2013.

10. The Ruins of Beverast – Blood Vaults – The Blazing Gospel of Heinrich Kramer

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Alexander’s back with another helping of his distinct brand of atmospheric black metal. This album is a lot more doom metal influenced then the last three, almost to the point where one could argue that this is more of blackened doom metal then actual black metal.While this album is the among bands weakest work, it still packs a punch with its creepy atmosphere and killer riffs. If you want to hear this band sounding their best check out the previous album “The Foulest Semen of a Sheltered Elite.”

9. Fenrismaw – Helcult

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Hailing from Poughkeepsie, NY comes the debut album from the Norse themed blackened death metal band Fenrismaw. Full of awesome double bass, crushing riffs, monstrous vocals and an overall menacing feel, this band feels like something that would come straight out of Sweden (there’s  even a Grave cover as a bonus track). Next time your friend tells you that all local level bands suck show them this album.

8.Gorguts-Colored Sands

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The first album in 12 years by Canada’s own tech death masters. For an album by a band that hasn’t done anything in so long this release is pretty damn good. The album continues the bands avant-garde influenced sound that started with their 1998 classic”Obscura.” With a sound that’s similar to old Opeth and a vibe that reminds one of Behemoth, “Colored Sands” is this year’s best tech-death release.

7. Windhand – Soma

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A band I discovered through being a fan of Cough. This album is Richmond’s second helping of female fronted Electric Wizard worshiping stoner doom. While the music is not as fun as their debut, this is still a worthwhile album for fans of slow sounds.

6. Motörhead – Aftershock

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Metal pioneers Motörhead prove that they (almost) always put out great material. This album is must more energetic then most of their other recent releases, reminding you how awesome classic Motörhead was. This is Motörhead’s best since at least the early 90’s. How many other bands can you say put out an awesome 22nd album?

5. The Melvins – Tres Carbones

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Here’s a last-minute entry as I listened to this an hour before writing this. These dudes have always been a favorite of mine and every album released by them has been something different (for those who don’t know, they’ve played both grunge and sludge metal before those were even genres). Like about 90 percent of the Melvin’s releases, this album is schizophrenic as fuck. The albums starts off with a few of their traditional sludge tracks with Buzzo’s awesome unconventional riffs in the lead. After that, the album continues with some free-jazz influenced experimental songs, reworks of traditional songs and covers of obscure punk bands. If you’re a Melvins fan this release will not disappoint.

4. Aosoth – IV: Arrow to the Heart

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Out from France comes a band I never bothered to check out till this year and boy do I regret waiting. This album is full of ambiance. Bizarre spoken word parts over soundscapes, guitar work that’s similar to Portal, and eerie sounding songs such as the title track make this album one horror filled ride to Hell. Arrow to the Heart washes the awful taste of Deafheaven’s “Sunbather” right out.

3. Deicide – In The Minds of Evil

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Deicide and Suffocation are my two all time favorite death metal bands. Sadly, the albums that followed 2006’s “The Stench of Redemption” were pretty lackluster, showing signs of Glen Benton losing his touch.That was until “In The Minds of Evil.” Out is the bands failed attempt to go more melodic and in is the evil and brutal sound we come to know and love as Deicide. This album doesn’t sound exactly like the classic Hoffman brothers era but more like a fusion of the new and old with the worst elements of the new sound removed.

2. Inquistion – Obscure verses of the Multiverse

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The two piece Inquisition has been on a winning streak ever since they started, providing us with a unique style of black metal.This album is no different. Not much to say here as it doesn’t differ much from other Inquisition releases (other then the thrash demos). A must have for Inquisition fans.

1. Carcass – Surgical Steel

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And we end off the list with the return of British extreme metal legends Carcass.When Carcass announced a new album everyone wondered what it would sound like. Would it be goregrind like the first two? Simple death metal like the third? Melodic like “Heartwork?” Some even wondered if it would sound like “Swansong” (so glad it didn’t). The answer is a mix of all (sans Swansong). The album’s full of fast intense death metal with the touches of “Heartwork’s” melodeath (such as the solos). Not a single track on this album feels like filler. The whole thing is full of energy and flows perfectly. Though this list is in no order, I believe this album deserves the number one spot.

Runners up: Noisem – Agony Defined, Exhumed – Necrocracy, Suffocation – Pinnacle of Bedlam

EP of the year: Bill X Nye – Richard X Lenski

Non Metal album of the year: David Bowie – The Next Day (with Chelsea Wolfe’s Pain is Beauty a close 2nd)

Music

Disparo Announce 3 Month World Tour

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If you like your metal fast, aggressive and Australian then look no further than Sidney’s Disparo.

From the dawn of May to the dead of July, the crossover four-piece looks to do what Pinky and the Brain never could by hitting four of the seven continents in support of their debut album “Co-Exist” on the “Fastcore Forever, Sleep Never Tour.”

The tour kicks off May 10th in Australia, heads to the United States on May 19th, whips back around to Europe from June 22th to July 8th and finally boomerangs into Asia from July 14th before coming to a complete stop in Tokyo, Japan on the 30th.

In the immortal words of Edward R. Murrow, “Good night and good luck.”

dispario tour flyer

 

 

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A Labor of L’Amour: DJ Alex Kayne On His Upcoming Book & Bensonhurst In Its Heavy Metal Heyday

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The legendary L’Amour marquee, circa 1988 (image courtesy of Alex Kayne).

Often hailed by its following as “The Rock Capital of Brooklyn,” L’Amour was a staple of hard rock/heavy metal acts of the 1980s and 1990s.

Some of the genres most legendary bands (such as the “big four” of Thrash Metal: Metallica, Slayer, Megadeth, and Anthrax) got their break in the tiny club that oftentimes felt like an arena. Memories, bonds, and acts of debauchery occurred on a nightly basis in the Bensonhurst venue. The club’s promoters were also notoriously fair when it came to booking, giving any band a chance to play on Brooklyn’s biggest stage – which made it so prominent for keeping the scene alive and a staple for establishing the developing New York Hardcore scene in the early 90’s.

L’Amour first opened as a disco club on a rather desolate stretch of 63rd Street in 1978 and transformed into a rock venue in 1981. Over the next two decades, its popularity skyrocketed and three somewhat short-lived sister locations were spawned in Queens, Long Island, and Staten Island. Throughout the 1990s and into the early aughts the original club would remain active before finally closing its doors in 2004. Usually at the helm of the Bensonhurst club, was DJ Alex Kayne, who is widely considered New York’s first-ever heavy metal DJ.

To read the full story on Bensonhurst Bean, click here.

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Top 10 Extreme Metal Love Songs

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10 best metal love songs

A common Valentine’s Day tradition is listening to sappy love songs. Despite what you might think, even metalheads enjoy conveying their emotions for one another. In no particular order, here are ten “love” songs from metal’s more extreme sub-genres; showcasing the various ways to show someone how you really feel.

Vio-lence – Gutterslut

From the band’s humorous and politically incorrect “Torture Tactics” EP. “Gutterslut” is  about wanting to rape a slutty woman. If recorded today, there’s no doubt the members of Vio-lence would have an eternal P.R. nightmare.

Loving lyrics: “Fuck her in the ass good and hard
After I’ve chased her through the yard
I don’t use vaseline ’cause I like to
Fuck dirty and mean“

Strapping Young Lad – Love?

Strapping Young Lad’s most well known song. The song is literally just about love.

Loving lyrics: “I’ll wait for the night to come
So far, suicide at home
For I’m not the man you know…
This love,
IT’S ABOUT CONTROL”

Carnivore – Carnivore

From their self-titled debut, this track was one of the first tastes of Peter Steele’s tongue-in-cheek humor. Nothing shows affection more than referencing forgotten 70’s bands.

Loving lyrics: “Lick me she begged, she pulled down my head,
I love to eat pussy
A taste so fine like sweet April wine,
I won’t trade for any money”

Cannibal Corpse – Fucked with a knife

One of the band’s most well known songs. This live staple is pretty self explanatory and is Ted Bundy approved.

 Loving lyrics:”No escape from your fate, destined to be mine.
Every night I wait to see, in the night, watching“

Ancient – Lilith’s Embrace

A classic black metal track from the 90’s that is mostly known for its good/bad music video. The track tells the story of Adam’s son Cane meeting his father’s first bride Lilith.

Loving lyrics: “I shed bloody tears and she made them disappear
She kissed away my tears
Her powers I could see would forever set me free”

Gorgoroth – Unchain My Heart

From their 2000 album “Incipient Satan” (the first album to feature Ghaal). In case you were wondering, this is not a cover of the Ray Charles song and is one of the few Ghaal era songs to not feature Satan’s name.

 Loving lyrics: “the blood reflecting white
the curse of your heart
eternity
“unchain my heart”

Acid Witch – Witches Tits

Acid Witch were always one for wierd lyrics and here is no exception. Like Cannibal Corpse, this song’s title speaks for itself.

 Loving lyrics: “Covered in boils and sores
Crusted over popped pimples
Discharging pus
With warts for nipples”

Midnight – Vomit Queens

Midnight were always great Venom worshipers down to the lyrics. Although we don’t know what a vomit queen is this song is still awesome.

 Loving lyrics: “Give it to me – Vomit Queen
It’s bursting out – Vomit Queen
Give it to me – Vomit Queen
Aaarrrggghhh – Vomit Queen“

https://youtu.be/zaHMK1vJQtU

Suffocation – Entrails of You

Here on one of their most popular reunion songs, Suffocation show they don’t only care about outer beauty. The song is about killing a woman and having your way with her entrails.

 Loving lyrics: “You are so beautiful; I bathe myself in the entrails of you
Submerge myself in your blood and wear your flesh, you are so fucking beautiful
You are so beautiful; I bathe myself in the entrails of you“

Anal Cunt – Picnic of Love

The title track from the band’s most “experimental” album. As opposed to grindcore with offensive lyrics, this album was pure folk songs about love. See, Seth Putnam was a nice guy!!

 Loving lyrics: “I’ll kiss you for an appetizer
And love you for the meal
Then I’ll ask for your hand in marriage
As I look up lovingly and kneel“

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Bonesaw Podcast – Episode 27: Agoraphobic Nosebleed’s Richard Johnson

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It’s time to grind with Agoraphobic Nosebleed’s Richard Johnson as we discuss ANB’s live debut at last year’s Maryland Deathfest, recording their latest release “Arc,” future plans and more.

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Moon Tooth: Chromaparagon

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Fancy metallers Moon Tooth have delivered their debut “Chromaparagon.” Quickly rising up the ranks in their three year tenure, the band has a lot of emotions that are conveyed throughout the record in a full-on aural assault.

Kicking off with their single “Queen Wolf,” Moon Tooth let loose on this rifftastic ripping opener. To get an idea of the chemistry this band has, everything blends from guitarist Nick Lee’s pull-offs to John Carbone’s flowing vocals to the swinging latin beats of drummer Ray Marte (who produced, engineered, mixed and mastered the album) carried by Vin Romanelli’s luscious bass lines that really tie the room together.

In short, “Queen Wolf” is Moon Tooth incarnate.

Next up we have “Offered Blood,” “Igneous” and “Little Witch.” The latter (which Lee sings) may be catchy, fun and bouncy and the middle is wild, but nothing sums up “Offered Blood” better than five simple words.

What the hell is going on?

“Offered Blood” is all over the place, making it one of the best tracks on the album. Carbone’s soothing melodies control the chaos of his bandmates as they jam over a trippy monologue. One of the monologue’s key lines that stick out is Carbone’s caravan calling, “All the silent tingles in the air pulse and the animals know you’re coming.”

“Bats in the Attic” is a thrashy, psychadelic instrumental that sets the tone for the remainder of the album and your imagination. “Bats” creates the aural sensation of said mammals fluttering their leathery wings, foreshadowing Moon Tooth’s sonic descent into madness.

As bizarre as its title suggests, “Forgive Me Snake Ryder”  is a mind-blowing cacophony of wonky atonal wankery. A litany of chromoparatastic riffs followed by brief pauses containing random samples of both speech and sophistication create this monsterpiece.

As we journey to the center of the album we’re greeted by some tag team turmoil in “Chroma Vesuvius I” and “Vesuvius II.” “Vesuvius I” is a gritty, chunky blues bit while “Vesuvius II” throws all that out the window, blanketing you in heavy ambiance while Carbone’s voice becomes the light guiding you out of the tunnel. “Vesuvius II” is an elaborate trap that has been slowly built for an aggressive, agitated breakdown.

“Vesuvius II” is the soundtrack of a man going completely insane.

Enter “Belt Squeezer” which is chock full of aggressive, thrashy fun. This also features Lee’s vocals and he makes them count with his 90’s punk/grunge combo that compliment Carbone’s clean, carrying hymns. “Belt Squeezer” features some of Chromaparagon’s best riffs and displays a brief moment of brevity before turmoil. For brevity, Moon Tooth slips in a blues moment around the four-minute mark before “Belt Squeezer’s” epic crescendo.

Wrapping up the album are “Death and the Vibrant Architechture of Rebirth” and “White Stag.” The tracks are solid, somber closers that feel like the end of a warriors long journey. Like Iron Maiden’s 12-minute epic “Rhyme of the Ancient Mariner,” the former tells a story while the latter’s droning goodbyes slowly set the record down to a crawl.

Chromaparagon is a solid, complex debut from Moon Tooth. The intricate labor of love is a testament to the age old proverb “hard work pays off.” In a genre full of one-trick ponies, Chromaparagon is a much needed shot in the arm for the metal nation.

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Moon Tooth Wreak Havoc on St. Vitus at CD Release Show

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The cover for Moon Tooth’s debut album, “Chromaparagon” (via Bandcamp.com).

Last night was another Toothian trek for the boys and I.

An average Thursday was something one could only dream about. Whomever’s dream it was that came true must’ve been bored beyond belief.

I did may weekly freelance work (to attempt to try to make a buck), took a few matters into my own hands and waited around for some brute to install a washer/dryer combo. One who couldn’t wait, I passed the time by writing, listening to a combination of Cypress Hill, Pearl Jam and Alice In Chains (in that very order) and playing Marvel vs. Capcom 2 on my Playstation 2 (rock the classics!) for the drones to come between two and five.

A quarter to seven was not exactly what I was expecting.

They couldn’t do what was needed due to negligence on the guy who ripped off my family faking his way into installing a washer/dryer combo into a basement the week before.

Long story short, I was pissed.

My body yearned for sushi, but upon arrival to said sushi joint I realized not only had they recently changed the name but had adopted the inhabiting chain’s menu – raising prices and getting rid of the items I originally had intended to order.

I settled for pizza.

Half a block and a street away my cohorts Timmy and Kevin were parked at the Coney Island Avenue 7-11, grabbing a six-pack of Hoegarden. I walked over, got picked up and off we were like three 80’s headbangers on their way to a Judas Priest show.

When we finally got to St. Vitus, we found an awesome spot in front and dove into our brews while cranking some metal to get the blood flowing. After the beer ran out we headed into the surprisingly packed bar and grabbed some Lemmy’s (aka giant, overpriced Jack and Coke’s)

Unfortunately, we had missed Godmaker (which should not have opened based on the fact that they’ve been touring with Moon Tooth alone) and Meek is Murder. However, Netherlands was taking the stage.

Netherlands was a highly energetic mess of doom and ambiance flooded in visuals. I was a bit puzzled at first as the singer/guitarist had a wireless mic as opposed to using the club’s (makes more sense but doesn’t look as cool). Overall they had a good sound that was great to drink to. Unfortunately, a lot of the songs were very similar and at times they relied a little too much on said visuals and became a little one-dimensional. They did their job as far as getting the crowd pumped, but if they hone their craft and break that barrier, they can really be something special.

Afterwards came another round of drinks (changing things up with a Newcastle this time around) and some catching up with the Moon Tooth guys however I could. Their merch booth was covered in shirts, buttons and decorated in “Chromaparagon” (their debut album which came out today) paraphernalia. Eventually, it became “that time” and the mighty Tooth hit the lights.

If you don’t know Moon Tooth, you’ll have to claw your way out of the ditch, crush the rock and crawl out from wherever you came from as they’ve been all over the metal world lately (thanks to hard work, dedication and a crack marketing team). A sound full of classic, modern, aggressive and progressive influences – it’s hard to define what type of genre Moon Tooth actually is. Due to the strange sophistication of sounds, the term “Fancy Metal” immediately comes to mind (which I will sue over copyright!).

As per diem, Moon Tooth was all over the place. Frontman John Carbone could not sit still, whether he was having stationary seizures or bringing all of his energey directly into the face of the crowd (moshing around him or not). To describe the reaction of Moon Tooth’s fans (I’ll dub them “Toothians” or “Moonnites,” which I will also sue over copyright!) would be a sin, because we already have video evidence all over American Hardcore.

The Moonnites and Toothians were rampant, moshing and/or headbanging seemed to be fair game and the explosive attitude of the Tooth complimented their followers. Guitarist Nick Lee was loose and letting all his skills hang out on a Dean while keeping time and keeping up with drummer Ray Marte and Vin Romanelli’s Warwick/Precision attack. Make no bones about it, everyone was excited for “Chromaparagon” (my only complaints: No Reverend Sensei guitar and no backflips).They wrapped up their set with a longer, slower and predominantly instrumental number that according to Carbone they will allegedly “not play much.”

Allegedly.

At around 1:30 a.m., after having said my “good-byes” (and some hellos) we had another drink and rode on into the night, where I came home to a pleasant surprise:

A fully installed washer/dryer combo.

Music

Life of Agony to Release First Album in Over a Decade

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Life of Agony (left to right: guitarist Joey Z, bassist Alan Robert, singer Mina Caputo and drummer Sal Abruscato; courtesy of Google Images).
Life of Agony (left to right: guitarist Joseph “Joey Z” Zampella, bassist Alan Robert, singer Mina Caputo and drummer Sal Abruscato; courtesy of Google Images).

After 11 long years of sporadic live appearances, Brooklyn’s Life of Agony is back with a vengeance and plans on releasing a new album this year on a new label.

The former Roadrunner hardcore/alternative metal group’s new album will be titled “A Place Where There’s No More Pain” and will be available on Napalm Records.

“I think our fans know that our music comes from a very real place of suffering, from all of us in the band,” bassist and comic book writer Alan Robert said in a press release. “Many of our fans have told us over the years that sharing our personal struggles has been cathartic for them in healing the pain in their own lives. That uplifting energy we share at the shows, gives us hope that there’s light at the end of the tunnel. And for us and hopefully our fans, that short time when we’re all together is a place where there’s no more pain.”

Shortly after the band announced the good news on their official website last month, they proceeded to go on a short string of German tour dates.

Life of Agony also has three England shows scheduled in March for the “Agony in the U.K” dubbed mini tour.

“Life Of Agony is without a doubt one of the most exciting and energetic Rock bands of our times. It is an honor to work with such talent, we are excited to announce their signing to Napalm Records and release the band’s first album after over a decade,” said Thomas Caser, CEO of Napalm Records.

Shortly after their formation in 1989, Life of Agony landed a deal with Roadrunner Records and released four albums. Their highly acclaimed 1993 debut, “River Runs Red” (which they performed in its entirety in 2010) is their best-selling album and has been reissued several times through several different labels. Also released under Roadrunner were 1995’s “Ugly” and 1997’s “Soul Searching Sun.” Life of Agony’s last album, “Broken Valley” was released by Epic Records in 2005.

Official album art and promotion for Life of Agony’s new album, “A Place Where There’s No More Pain” (courtesy of Life of Agony’s official website).

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