Godflesh – Loop: The Cockpit, Leeds, United Kingdom

Posted on June 18, 2014 by News Team

Justin Broadrick has always been a mover and shaker. Active in underground music with many projects from the Drum ‘N’ Bass assault of Techno Animal to Final’s ambient elect-drone, the Birmingham musician is a key underground figure whose influence can be felt from Fear Factory to Isis. Reforming in 2009 having played a smattering of shows but little more Broadrick has finally birthed a new four song EP from his most famous musical endeavour with the promise of more to come. Before the Brummie industrial icon can dish out the punishment it’s time for Alt rockers Loop to woo the audience with their droning riffs and throbbing bass. The venue is just over half full as but the band still receives a positive reaction with many shaking their bodies in time to the rhythm. Relying heavily on repetition you found yourself swaying in time to the soothing molasses of feedback. Hypnotic and alluring this trance inducing spectacle is fine for a kick off but nothing prepares you for the harrowing sounds of urban decay that follows.

The stark contrast between the terrifyingly bleak and nihilist sounds of Godflesh from Loop’s warm psyche could be felt by all in attendance. Justin Broadrick’s scowls intensely while thrashing at his guitar and bellowing like a wounded animal. The hour and ten minutes over which Godflesh inflict their scathing assault upon the bewildered crowd is as claustrophobic as is it compelling. The catacombs of The Cockpit cater for Godflesh’s Molotov cocktail of neurosis over grim industrial sounds.

New number ‘Ringer’ is dished out early and gratefully received by a crowd many of whom probably felt they would never hear a new Godflesh track. Material from the newly released Decline and Fall EP is foul and depraved, harking back to their early material without being an exercise in hopeless nostalgia. ‘Like Rats’ and the bruising ‘Christbait Rising’ are dispatched with frightening efficiency sounding as vicious and life affirming as ever. Crushingly devoid of humanity save for Broadrick’s anguished tones, no intensity has been lost in the thirteen year absence between recorded works.

Godflesh Set List:

New Dark Ages

Ringer

Like Rats

Christbait Rising

Streetcleaner

Spite

Mothra

Monotremata

Bigot

Crush My Soul

Godflesh on Facebook

Loop on Facebook

ROSS BAKER

Blackfield – John Wesley: Live at the Best Buy Theater, New York City

Posted on June 17, 2014 by News Team

I’m not quite sure if this was Blackfield’s last show or last show with this lineup, it remains unclear to me. Tonight’s show had a feeling of closure and finality. Having newly discovered this group I can say I was regretting not finding them sooner. The night started off with fellow Porcupine Tree alumni John Wesley. Not at all what I was expecting when I heard who was in his band. Wesley and his solo band put on a massively mellow and grooving set. Fellow guitarist and vocalist Ian Medhurst won me over very quickly. I was even more impressed with his rhythm section: former Iced Earth drummer Mark Prator and Sean Malone of Cynic. Their musicianship was uncanny. They powered through eight songs of new and old tunes with little or no effort.Continue reading →

Uncle Acid and The Deadbeats- Black Moth: Live at Academy 3, Manchester, UK

Posted on June 13, 2014 by News Team

Mysterious Cambridge based quartet Uncle Acid and The Deadbeats have ridden a wave of growing popularity which peaked late last year when the group was granted the accolade of opening for Metal Godfathers Black Sabbath. Prior to the main event however Leeds based doom act Black Moth impressed with a storming set showing that female fronted acts don’t need a folk aspect nor drown out their singer in order to make an impression. Harriet Bevan’s lush vocals provide a compelling foil to the colossal riffs of tracks like ‘The Articulate Dead’ and forthcoming single ‘Tumbleweave’ leaving an extremely favourable impression on the packed audience.

“This song goes out to Charlie Manson” is how Uncle Acid elect to introduce ‘Poison Apple’ following the stomping ‘Death’s Door’. Maryland groove machine Clutch are plying their trade just down the road which makes tonight attendance all the more astounding although surely some promoters have missed a trick. Blighted by a technical glitch at the beginning of their set which delayed the commencement of their psychedelic ceremony enraptures the audience with the atmosphere akin to a love in before some idiot at the front is escorted from the building following a fight breaking out during the last number. Never the less `The Deadbeats seventies horror inspired romps inspire much dancing and unbridled revelry. Even slower numbers such as ’13 Candles’ inspires much movement in the crowd who encompass people of three different generations, no mean feat considering the fickle, media driven trappings of the modern music scene. Heady and enthralling guitar work mixed with a compelling mystique tonight Uncle Acid’s swagger and cocksure attitude full justified the hype and praise heaped upon them.

Uncle Acid and the Deadbeats on Facebook

Black Moth on Facebook

ROSS BAKER

Neurosis – The Haxan Cloak: Live at The Cockpit, Leeds UK

Posted on June 10, 2014 by News Team

Venturing outside of London in the first time in over a generation, Oakland C.A.’s Neurosis reputation in the live arena has always gone before them, yet tonight anticipation has reached a fever pitch.

Opening proceeding is the one man, feel bad trip that is atmospheric electro act The Haxan Cloak. Bathed in strobe lights so the pulsing rhythms and droning bass occupies centre stage. Feeling more at home with the Bristol trip hop scene than any of the drone metal alumni and while one shadowy figure doesn’t make for compelling viewing, the nocturnal desolation serves as a fittingly uneasy warm up.

It’s shocking the venue failed to sell-out in advance but no one would know considering how tightly packed together the audience is.

The towering tribal rhythms of Jason Roeder’s drumming usher in ‘A Sun That Never Sets’ sends the devoted into a spiral of ecstasy in which they remain until the final droning note has fell silent. A truly spiritual experience in many ways the claustrophobic anguish and unencumbered aggression that is ‘Locust Star’ is delivered with equal passion given to numbers from 2012’s ‘Honor Found In Decay’ opus.

Utterly transfixed despite the oppressive temperature inside the venue the anguish, vulnerability and feelings of empowerment capture the audience in a way so few acts can muster. The juxtaposition of haunting ambiance and titanic heaviness gives the set an organic and emotional connection which far surpasses the feeling of watching a band perform a few greatest hits. ‘The Tide’ is awe-inspiring, its tranquil beginnings rise to a climax of devastating proportions. It’s orchestral feel stands a perfect contrast of the venomous delivery of ‘Bleed The Pigs’ where Scott Kelly’s visceral delivery would suggest he requires an exorcism to remedy the pain.

When many of their peers have petered out or lack their original intensity Neurosis have grown like a great redwood tree, becoming more gnarled, dynamic and grander than before.

As a gargantuan rendition of ‘The Doorway’ and ‘Stones From The Sky’ end tonight’s vespertine sermon there can be no doubt that this seminal group remains at the peak of their powers.

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Neurosis Set List:

A Sun That Never Sets

Locust Star

At the Well

We All Rage in Gold

From the Hill

The Tide

Water Is Not Enough

My Heart for Deliverance

Bleeding the Pigs

The Doorway

Stones from the Sky

Neurosis on Facebook

The Haxen Cloak

WORDS BY ROSS BAKER

PHOTOS BY SAR PHOTOGRAPHY

Paganfest 2014: Live at The Palladium, Worcester, MA

Posted on June 8, 2014 by News Team

The last stop on this year’s Paganfest America tour was Worcester, MA, in the tiny upstairs portion of The Palladium. With a lineup consisting of the Finnish darlings Korpiklaani and Turisas, Taiwan’s Chthonic, Germany’s VARG, and Cincinnati’s own Winterhymn, it was bound to be an excellent way to spend a Sunday night.

Wait a minute. A folk metal band…from Ohio? It’s true! If you’re like me, you’re used to folk metal coming from European countries but Winterhymn plays the part well, violin and all. It may have been the last show of the tour but they played as though it were the very first and the crowd danced and drank along with every song. Even their tour mates in VARG got involved when they came onstage to prank the band by slathering them in fake blood in the middle of their set. All in all, it was a job well done.

Let’s get this out of the way right now: I love Germans and I probably shouldn’t be allowed into their country unsupervised. That said, how did I feel about VARG? I loved them too and judging by the crowd’s reaction, they agreed with me. I had heard of this band in passing but this was my first time actually being exposed to their music. One of the highlights of the evening was when Winterhymn came back out to stage dive and crowd surf near the end of VARG’s set. They were the heaviest band on the bill and easily wound up sneaking into my number two spot because of this. They were loud, energetic, and perhaps even a tad intimidating. I would love to see them again in the future.

The third band on the bill was Chthonic. Their sound seemed a bit out of place compared to the other bands. It was bit too monotonous for my taste but they were visually interesting. Chthonic was using screens and lights in an area where most bands choose to not to simply due to the lack of space for anything, but the musicians themselves. Overall, they weren’t bad but they also didn’t wow me either. I didn’t have a very strong opinion either way after this performance but I am willing to give them another shot the next time they come Stateside.

I have to be completely honest and say that the reason that I even went to this show in the first place was specifically to see Turisas again. If you have never had a chance to see them live, you can usually pick out fans in the crowd by their red and black war paint. There were more crowd surfers during Turisas’ set than any other band but it was their closing song that really took the cake. Sure, they have a ton of great original material but everyone and their mom has a huge soft spot for their cover of Boney M’s ‘Rasputin’. The band pulled over a dozen people up on stage to dance and sing along with them. It was a great way to end things and I’m glad that years of demanding to have that song played has finally paid off.

Headliners Korpiklaani seemed a bit more subdued than the last time I had seen them. I was expecting lots of dancing and men resembling wizards making strange hand gestures. The typical playful banter was instead replaced with their brand of face melting folk metal. Korpiklaani definitely put on a top notch show and things were significantly less boozy until the band ended with ‘Happy Little Boozer’ and we danced with our Jager Bombs held up high. It was a mess. It was interesting to see a group that I usually consider more of a “party band” take a different approach and I believe it worked well. Could this be a sign of things to come? I guess we’ll just have to wait and see what these Finns have into store for us next.

You’ll be hard-pressed to find anyone who hasn’t enjoyed attending a Paganfest show. From the great lineups bursting at the seams with incredible talent to fellow fans dressed in full Viking garb, these events are not to be missed and grow in size every year. Here’s hoping Paganfest 2015 gets moved downstairs so we can get some real dancing in.

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Paganfest on Facebook

WORDS BY ALEIDA LA LLAVE

PHOTOS BY CHRIS SMALL OF CWS PHOTOGRAPHY

Mastodon – Gojira – Kvelertak: Live at The Palladium Worcester MA

Posted on June 4, 2014 by News Team

There is nothing like a dismal, cold, rainy spring night to put you in the mood for some progressive metal. Of course the atmospheric conditions screwed up traffic royally (and it might have also been the NHL playoffs in Boston at the time), and that wrecked many a commute out to Worcester, MA for this epic show. Usually I am out to the venue early to see people and chat with bands, but on this night it was a struggle for me and my girlfriend to get to the venue on time. By the time we got there there was an unprecedented double line around the venue, waiting in the rain, just for will-call. This caused hundreds of people waiting to get in to miss Kvelertak and the start of Gojira. What a bummer for us. Weather permitting or not, I’ll be early next time a show of this stature comes to town, since this was a near sell out. Never again.

So we go into the venue in time to hear Gojira’s second song ‘The Heaviest Matter of The Universe’, and it was killer. Gojira is a brilliant band and the place was absolutely enthralled with them. Commanding the crowd from center stage, Joe Duplantier was the absolute master of the moment on this night. The audience hung on his every word and movement, and this was best crowd I have ever seen for this band. The mosh pit looked brutal and everyone in the room was singing along to songs like ‘Backbone’, and ‘Flying Whales’. Joe’s brother Mario is just godly on the drums and the band was tight as can be in the short, but amazing set. Closing with ‘Oroborus’, Gojira reminded all in attendance that they are an upper-echelon modern metal band: harsh enough to satisfy the most stringent fan of brutal bands, but tuneful and progressive enough to earn respect. Gojira is a band that as Slayer found out recently, is nearly impossible to follow for even the greatest of bands.

The change over for Mastodon seemed to take forever, which was disappointing considering how sparse the stage set ups were. Still the show started early, and Mastodon hit the stage by 9:30. When the lights came up a roar let out, that signified that despite some unpopular (or popular depending on your tastes) turns in their career, a lot of people are still down for Mastodon. I was a little surprised the crowd filled in even more and had not thinned at all after Gojira. Meanwhile, Mastodon opened with the cool choice of ‘Hearts Alive’ which is not only a fine way to start the show, it added throwback feeling to the night. Crafting a slick set list of recent hits and old favorites, the band rocked all night long like the seasoned veterans they are. Usually as Brent Hinds goes, so goes the band. Tonight he was lazer-focused and brilliant, and the band followed suit. This made this one of the top times I have ever seen the band.

The band usually doesn’t waste time talking to the crowd until the end of the night. Basically they ran the through the set in a professional manner, mixing better known songs like ‘Crystal Skull’ with deep cuts like ‘Siberian Divide’ and ‘Naked Burn’. Some nights the bands’ ambitious writing causes the band to struggle to replicate the sound of their albums, but on this night everyone sounded strong as could be. Since they past the mid-way point in the tour, but Troy Sanders sounded especially great tonight, especially on his upper-register lines. Although a lot of fans were concerned with the set list ahead of the show, I thought this was one of the better set lists I have heard in the dozen plus times I have seen this band. Not only was there less reliance on the material from The Hunter (Warner Bros), for the first time ever, I felt that even without their best known songs such as ‘Iron Tusk’ and ‘March of The Fire Ants’, they were able to put on a satisfying, highly entertaining show. Bring on the new album and more tours, please!

Mastodon Set List:

Hearts Alive

Divinations

Crusher Destroyer

Capillarian Crest

Black Tongue

Bladecatcher

Crystal Skull

Siberian Divide

Naked Burn

Megalodon

Oblivion

Blasteroid

Chimes at Midnight

High Road

Bedazzled Fingernails

Aqua Dementia

The Sparrow

Mastodon on Facebook

Gojira on Facebook

Kvelertak on Facebook

KEITH CHAHCHKES

Clutch – Lionize: Live at Metropolitan University, Leeds

Posted on June 3, 2014 by News Team

The second set of tour dates supporting last year’s highly successful Earth Rocker (Weathermaker) opus see’s Clutch riding a high having one again reaffirmed their status as one of rock finest live acts currently treading the boards.

The met is still disconcertingly quiet when support act Lionize begin their set, but their funk infected grooves impress punters early on. Chris Brooks and Nate Bergman deliver some rich vocal harmonies. Clutch’s Jean Paul Gaster even joins the band briefly on percussion yet while its clear their label bosses have been a forbearer for Lionize sound they retain a feel all of their own. Hell they even manage to get away with dropping a bit of reggae without sounding laughable or trite.

When father Neil Fallon begins the sermon the congregation has joined us in full swing. ‘The Mob Goes Wild’ lives up to its name, with frantic dancing breaking out en masse. Such is the energy that the Maryland quartet inspire that the crowd keeps singing even when Tim Sult’s guitar cuts out half way through ‘Crucial Velocity’.

The charm and charismatic presence of Fallon certainly means he is the wide eyed focal point yet the musicians around him lock into a groove that is irresistible. ‘The Elephant Riders’ makes a welcome appearance, making good on the reputation Clutch have of keeping their lives shows fresh and invigorating. The acoustic ‘Gone Cold’ provides a break from the raucousness allowing Fallon to show off his soulful side before a storming ‘Struck Down’ picks the pace back up.

Considering Neil Fallon was recently a whisker away from being unable to perform following an operation on his spine which meant a delicate operation which meant his windpipe having to be moved temporarily in the process his performance is, if anything even more driven and passionate.

A four song encore concludes with the one, two punches of ‘Electric Worry’ and ‘One Eye Dollar’ which leave many drenched in sweat smiling in unison. Tonight may not have gone without a hitch, but when you’re a journeyman act with a discography few can match and perform with such vigour and zeal you can do very little wrong.

Clutch on Facebook

Lionize on Facebook

WORDS BY ROSS BAKER

PHOTOS BY EMMA STONE

Crosses ††† – Nostalghia – Death Valley High: Live at The Paradise Rock Club, Boston MA

Posted on May 29, 2014 by News Team

As sometimes happens in the world of music journalism, one finds out last minute that they are going to a show that night. A quick shift in gears in order to make it to the show on time, and it’s off to the races, er the venue. Lucky for me weeknights in Boston are easier to get around than other cities I have lived in, and I wanted to get in just after doors opened. I had a chance to grab a rare weeknight adult beverage, mingle with my Metal New England crew, and catch opener’s Death Valley High. It was definitely an odd mix of metal fans in the room, obviously brought out mainly for Chino Moreno and his new band Crosses or †††, and vis a vie his other notable groups Deftones and Team Sleep.

Death Valley High hit the stage and they seemed to have ten guys in the band, packed on to the little stage taken up with gear. It was really only a handful of dudes, but they had a stage presence you couldn’t help but notice. They we’re a wake up call to the crowd that certainly wasn’t expecting this. Front man Reyka Osburn, with his Adam-Ant ca. 1982 make up job, is a one-man tornado on the stage. Screaming into the mike, playing guitar, and just generally whipping the crowd into a frenzy, he certainly was entertaining. It took the audience a few songs to grasp the deft blend of Nine Inch Nails style arena ready electro-goth, alt- rock posturing, with some legit throwback 80s synth work, but I dug it right away. The burned through a bunch of songs from their debut Positive Euth (Minus Head Records) and even tossed in a brief cover of ‘Rebel Yell’ by Billy Idol that has people moshing. By the time the band was ready to leave the stage and mentioned it was their first ever show in Boston, the crowd gave them a big reaction, for a little known opener.

Normally a band like Nostalghia comes along and I am all about it. Those that read these reviews of mine, perhaps think of me as a meat-and potatoes prog-rock nerd and thrash junkie going back to my childhood. But on a normal day the weirder and more out of the box a band is, the more I am apt to give them a fair shake and check them out. I prefaced this all with a detour into Keefy-land because Nostalghia came on the stage and instead of setting an ethereal mood before the headliners, they sucked all the energy and good vibes out of the room. I just wasn’t feeling it, and by the bewildered looks in the room, many felt the same way. Likely in a different setting than this, I will give them another chance, but tonight they didn’t impress me one iota.

After getting some fresh air and a fresh beer I was ready for Chino and †††. Obviously the band is not just about Chino, but he does tends to be the focal point in anything he does, doesn’t he? The group is as much as Shaun Lopez (Far) and Chuck Doom’s as it is Chino ‘s pet project, the music being the sum of their combined creativity. Also much hyped is whether the band is a witch-house group, but I hate to break it to the sub-genre gestapo, they are not. Still, they hit the stage slowly as if we were at an art presentation, coming out one at a time to opening track ‘†hholyghs†’ as the final reveal. Chino is a smooth bastard if nothing else, acknowledging the audible oohs and ahhs from both sexes as he came out. It was an orgy of Chino fangirl and fanboy worship that made me wince with every orgasmic “I love you Chino!” cried out, but at least he lived up to it with his performance.

The band was excellent as they cut through just about every song in the bands catalogue. Chino, in this setting is more like a Jazz chanteuse or a 70s R&B crooner; adopting his breathy soulful feminine wail, for the club acoustics and improvising here and there with certain phrases. There is no cheating live with Chino as so many others do, and he was in fine voice. He certainly enjoyed himself here and frequently stepped on to speakers that brought him closer to the crowd, each time making a connection with the fans. The unsung hero of the band is Lopez, who laid down a wonderful torrent of droning guitar parts, and slick keyboard work. If I had only one complaint tonight it was the electronic snare sound of Dino Campanella on the drums. The guy is a powerhouse player and a fine performer. However, he alternated between two clackity clacking snare timbres that ranged from mildly annoying to grating on my last fucking nerve all night. Oh well.

Most of the night the audience was transported away between lush trip-hop and pop anthems, to shimmering post-rock flourishes. The killer set list included hits like ‘Bi†ches Brew’ and ‘†he Epilogue’, but also the underrated numbers like ‘Blk S†allion’. The simple stage set up with just the minmal giant crosses with alternating lights fit the music perfectly sparse. Someone should give their lighting designer a medal, because i have have seen folks go too far in the past. When they came back out to the steamy, packed room for the encore and did a cover of ‘Goodbye Horses’, I totally started freaking out and lost my shit. The song made famous by Q Lazzarus is famous for its inclusion in the film The Silence of Lambs and now has a big place in pop culture too. Being a massive fan of anything Thomas Harris, I went berzerk. The cover was totally unironic and worked well with the bands musical style. Closing out a fun night with ‘†he Years’, everyone was left exhausted and satisfied.

††† Set List:

†hholyghs†

†his Is a †rick

Bi†ches Brew

Fron†iers

Blk S†allion

Bermuda Locke†

†elepa†hy

Prurien†

Nine†een Eigh†y Seven

†he Epilogue

†

†rophy

Op†ion

Encore:

Goodbye Horses (Q Lazzarus cover)

†he Years

Crosses ††† on Facebook

Nostalghia on Facebook

Death Valley High on Facebook

WORDS BY KEITH (KEEFY) CHACHKES

PHOTOS BY GREG WALKOWIAK

Ghost B.C. – Live at Revolution, Ft. Lauderdale, FL

Posted on May 28, 2014 by News Team

Ghost B.C. has positioned themselves as one of the most interesting – and polarizing – bands in music today. Not at all black metal, but with all of its satanic trappings; candy-coated pop without any the sweetness; gimmicky but presented with a conviction that is admirable. You either love them or hate them, but you know who they are. I have loved the band since the first time I heard ‘Year Zero’. Deny it all you want, but the moment you heard the choral bellows of “Belial, Behemoth, Beelzebub! Asmodeus, Satanas, Lucifer!” You were caught off-guard and they had your attention. I would dare say that those who do not like them have to grudgingly admit this band takes their music as seriously as their image. But can they deliver all of this dichotomy, pomposity and schtick live?

The answer is a resounding YES. Ghost has created a sound that appeals to a broad range of rock fans. The have the melodic sensibility to corral rock/hard rock fans, the horror/punk edge that appeals to the punk rockers, and the lyrical/visual melancholy dripping with keyboards that woos the Goth crowd. Even with that mix, their music still has enough crunch and groove to appeal to many metalheads, especially those who appreciate singing as opposed to the screamers that dominate the genre. The crowd is as undefinable as the music they have come to experience, but one word that could be used is dedication. While the crowd was very respectful of the rockabilly-tinged crooning of Seattle-based opener King Dude, it was clear from the t-shirts, face paint and chatter who the throng was there for.

From the background music, to the lighting, to the incense, to the cathedral-like backdrop complete with stained glass windows, Ghost knows how to set a mood. Much credit has to be given to the attention to detail that makes you feel as if you are part of a satanic church service as much as a show, and that it’s more than just throwing on some face paint and a costume. This band is so 100% committed to their image and its presentation, even a non-fan can respect it.

The Nameless Ghouls filed onstage to the gloom of ‘Masked Ball’, and launched into ‘Infestissumam’. His Unholiness Papa Emeritus II strolled onstage and up to the microphone for ‘Per Aspera ad Inferi’ complete with his Pope-esque robe (with inverted crosses), the mitre (tall pointed pope hat), and the staff bearing the huge Ghost logo on its top. He is striking figure, and all of his movements, gestures, and speech patterns during his between-song commentary shows this man has done his Papal homework. Stoic, never headbanging, never so much as a sway or dance, he really bears himself as the role requires. The front line of Ghouls are quite animated, and interact with each other and the audience more than some reviews would lead you to believe. The band’s musicianship was tight and quite exceptional, able to nail the genre-skipping their songs demand with ease. The fans were screaming along to every word, swaying and dancing, and there was even a pit now and then. The last song performed was ‘Monstrance Clock’, and ended with the band leaving the stage to the crowd’s chanting of the lyric, “Come together, together as a one! Come together for Lucifer’s son!” I have not seen this kind of intense reverence for a band since I saw Neurosis last summer. These folks are INTO IT. And it was a damn good time.

For all of its darkness, it was fun, amazing concert experience. Even if you are not their biggest fan, do not pass up the opportunity to see Ghost live – it will be worth every penny of that ticket.

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Ghost Set List:

Infestissumam

Per Aspera ad Inferi

Ritual

Prime Mover

Jigolo Har Megiddo

Con Clavi Con Dio

Elizabeth

Body and Blood

Death Knell

Here Comes the Sun (Beatles cover)

Depth of Satan’s Eyes

Stand by Him

Genesis

Year Zero

If You Have Ghosts (Roky Erickson cover)

Encore:

Ghuleh/Zombie Queen

Monstrance Clock

Ghost BC on Facebook

King Dude on Facebook

WORDS: LYNN JORDAN

PHOTOS: KEITH JOHNSON/BIG SHOT CONCERTS

The Golden Gods Tour – Live at Iron City, Birmingham, AL

Posted on May 27, 2014 by News Team

There are some great tour packages these days, but the tradeoff is that each band may get a little less stage time than they (or their fans) may be used to. An example of this is the Golden Gods Tour headlined by Black Label Society. The opening bands, in order, are Butcher Babies, Devil You Know and Down. However, it is a quality bill, and I highly recommend that you catch this tour when it rolls your way.

Skipping the bigger city of Atlanta and stopping in Birmingham, AL at the venue Iron City Birmingham, the show started early with one of the “love them or hate them” bands, Butcher Babies. I happen to like them, and they are showing that they aren’t some kind of fluke as they continue to tour off of their summer 2013 release Goliath (Century Media). The band wasted no time getting down to business for their 30 minute set. Of course, the lead-singing ladies Carla Harvey and Heidi Shepherd command the stage and everyone’s attention with the strong voices, looks, and constant motion, but their band should not be overlooked. Solid and keeping it tight, they were a great musical support while the ladies did their thing. Butcher Babies has grown in notoriety, and I am sure there were many there who were curious or waiting to hate. But I have a feeling that by the time their set was over, Butcher Babies had themselves some new fans.

In our last issue, I had reviewed the Devil You Know’s debut album, The Beauty of Destruction (Nuclear Blast), and rated it very highly. But of course, I couldn’t wait to see them perform the material live, and they did not disappoint. Warmly welcoming Howard Jones and his return to the stage, the crowd was ready to absorb the new music. I was curious as to how the band would be received since the material is still so new and there are no ‘classics’ to fall back on, but the crowd was into it, and the band was flawless. Musicians Francesco Artusato (lead guitar), Roy Lev-Ari (guitar), Ryan Wombacher (bass) and John Sankey (drums) are technicians, but the taste they display when they could easily over do it really showed their skill. Another short set, they crammed in ‘A New Beginning’, the single ‘Seven Years Alone’ and the closer ‘Shut It Down’. They were polished, but did radiate enough raw energy to keep the crowd more than *ahem* engaged. Howard’s stage banter was humorous as always and he sounded fantastic, and it was great to see and hear him in such fine form and getting back into the grind of touring.

I absolutely love Down and have had the pleasure of seeing them on several occasions. However, this is first time I’ve seen them with second guitarist Bobby Landgraf and bassist Pat Bruders, who are just great and seem like they were always there. I did miss seeing Kirk Windstein at first, but the solidity of the new members made me forget about that quickly. They opened with ‘Eyes of the South’ and played new favorites ‘We Knew Him Well’ and ‘Witch Tripper’ off of Down IV Part 2 and Down IV Part 1 – The Purple EP (Down Records/Independent Label Group) respectively. They made the most of their 40-minute set, and Phil Anselmo was gracious and self-deprecating. He apologized for the band, saying that they really didn’t get to practice much, but it certainly didn’t show. Jimmy Bower kept it tight, and Pepper Keenan was just on fire. I am loving where Phil’s voice is right now as it has really rounded out, and sounded warm and full. They closed with the mighty “Bury Me in Smoke” before they left the stage. While myself and many others in the audience wished they had more time, they made good song choices such as ‘Lifer’, ‘Stone the Crow’ and ‘Losing All’.

While the crowd showed respect to Devil You Know and for Down, there were very many there to see Black Label Society. Once Down was done, the crowd clearly became more anxious and rambunctious, getting ready for Zakk Wylde and crew. I have not seen BLS in a very long time, so I was overdue to catch them live. The huge BLS banner dropped and the band kicked in with ‘My Dying Time’, the killer track from BLS’ latest release, Catacombs of the Black Vatican (E1 Music), then dove right into ‘Godspeed Hellbound’. BLS had the audience in the palm of their hand from the get-go. With his band Dario Lorina (rhythm guitar), John DeServio (bass) and Jeff Fabb (drums) backing him, Zakk clearly has the foundation from which his guitar can soar, and the crowd ate it up. Other songs performed included ‘In This River’, ‘Suicide Messiah’, and they ended the night with ‘Still Born’. It was a great set, and what you go to a rock show for.

This is definitely a tour worth catching, and dates have been selling out. So if you are considering going, don’t wait too long to get a ticket. Reasonably priced with a dynamic and diverse lineup, this is one tour that will give you a great bang for your hard-earned buck.

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LYNN JORDAN

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