King Diamond – Exodus: Live at The Orpheum


King Diamond and Exodus Abigail tour admat

Over the course of the past year or so, many metal heads in the New England area have went from never seeing the great King Diamond, to seeing the master twice in a short few months. However, November 24th was a night that will stick out to all fans whether this was the third time, fifth time, or even the first time seeing King. This time around, we were all treated to the entire Abigail album from front to back, live right in front of our very eyes. As if that was not sweet enough the thrash titans, Exodus, were slated to open the night and get everyone up out of the Orpheum seats.

Exodus, by Hillarie Jason

Exodus, by Hillarie Jason

Exodus, by Hillarie Jason

Exodus, by Hillarie Jason

Exodus kicked off the night to a fair mix of old and new tracks to get all of the fans, young and old, warmed up for what promised to be a great night. The Boston crowd enjoyed newer tracks from the thrash legends including: ‘Blood In, Blood Out’ , ‘Body Harvest’ , and ‘Blacklist’. The longer tenured fans of course got the typical (of late) three track closing rotation of ‘Bonded by Blood’ , ‘The Toxic Waltz’ , and ‘Strike of the Beast’. The only downside of the performance was the inability to actually do the Toxic Waltz while standing in place amongst the rows of seats.

King Diamond, by Hillarie Jason

King Diamond, by Hillarie Jason

After a short intermission, and ‘The Wizard’ by Uriah Heep over the PA, King Diamond and his cohorts made their way to the stage. King started off the set with a short selection of King Diamond classics like ‘Welcome Home’ , one of my favorites ‘Halloween’ , and ‘Eye of the Witch’. Of course, what would be a King Diamond show without some Mercyful Fate covers? King was happy to oblige with staple ‘Come to the Sabbath’ and a slight change to the usual covers with the epic ‘Melissa’. And then it started, ‘Funeral’ over the PA while the band switched out instruments. It was time for Abigail! Druids came out with a casket with the infant corpse of Abigail inside to which King was happy to hold up the crowd in praise. Track by track the story of Abigail went. From ‘Arrival’ and ‘The Family Ghost’ to ‘Omens’ and ‘Abigail’, the Boston metal heads sang/screeched (and I mean screeched out those falsettos) each and every lyric to each song. But, like all great things, ‘Black Horsemen’ had come and gone as the band said their goodbyes, threw out guitar pics, and made their exit until the next time.

King Diamond, by Hillarie Jason

King Diamond, by Hillarie Jason

Most would say seeing any band three times in a year is too much. Some days I may even agree to that sentiment, but not towards King Diamond. Even if this was not the Abigail Tour and just another headlining run for the King and Company, I would still have gone. If you have yet to make it to a King Diamond show, you should feel bad and then catch the next one!

 

King Diamond, by Hillarie Jason

King Diamond, by Hillarie Jason

 

 

King Diamond, by Hillarie Jason

King Diamond, by Hillarie Jason

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WORDS BY TIM LEDIN

PHOTOS BY HILLARIE JASON

 


The Darkness – Jennie Vee: Live at The House of Blues, Boston


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Sunday Funday turned into Girls Night Out over the weekend when one of my best friends and I ventured into Boston to catch The Darkness. Everyone knows that you can’t have a real GNO without British men in tight pants…Or British men in no pants, as we would soon discover.

Jenny Vee, by Matt Lambert

Jenny Vee, by Matt Lambert

The only opening band was Jennie Vee. They sounded like something that you would hear in a coming of age teen movie. It would probably star Ellen Page or something. It was your typical pop rock, nothing groundbreaking or shocking. There was no way that they were going to be able to compare to the energy of The Darkness. Someone else might more interested in them than I was, their music just didn’t move me.

 The Darkness, by Matt Lambert

The Darkness, by Matt Lambert

I had not seen The Darkness since the Hot Cakes (Wind-Up) tour, where they played a small venue called The Paradise. That show had been absolutely insane and I had mixed feelings about them playing the House of Blues; I was glad that there was such a demand for them but I am also very selfish and like keeping bands to myself in tiny venues. Mine! Anyway, the boys opened their set with ‘Barbarian’ off of their latest record, The Last of Our Kind (Canary Dwarf Limited), before switching gears with one of my personal favorites; ‘Growing on Me’. You can bet I sang every word. Three other tracks off the new album appeared in the set, including; ‘Mudslide,’ ‘Roaring Waters,’ and ‘Open Fire’.

 The Darkness, by Matt Lambert

The Darkness, by Matt Lambert

I got lucky with a few other favorites of mine in ‘Every Inch of You’ and an extra long version ‘Love on the Rocks with No Ice’ complete with crowd interaction and another round of Justin-Rides-a-Fan in which Justin Hawkins plays guitar atop a tall crowd member as they make their way through the audience. Always amusing. Speaking of amusing, shout out to whoever kept demanding that Justin take his pants off because he definitely did. Go you, anonymous audience member!

 

 

 The Darkness, by Matt Lambert

The Darkness, by Matt Lambert

 

 

 The Darkness, by Matt Lambert

The Darkness, by Matt Lambert

So, there you have it, British men in tight pants, British men in no pants, it was a party. Listen, I might live and die by stoner rock and the 90’s, but I love the big hair and men in tight pants that come with glam rock. I will never apologize for that (much to my editor’s dismay).

 

WORDS BY ALEIDA LA LLAVE

PHOTOS BY MATT LAMBERT


Mastodon – Clutch – Graveyard: Live at The House of Blues, Boston, MA


mastodon clutch tour

It’s Sunday and you have work in the morning, you’re moving to a different state, and you’re going on vacation in a few days. What do you do? Squeeze in one more show while you still can, obviously. You can always sleep on the plane.

First to take the stage were Graveyard with that classic 60’s/70’s classic rock touch that I adore. A friend had said that I would like them and he was absolutely right. They opened with ‘Hisingen Blues’ and I knew that I was going to get sucked right into their world. The music sounded very American but the band is actually based out of Sweden. The spirit of rock and roll lives on through men like this and they are worth checking out if you have the chance to see them.

Graveyard, by Evil Robb Photography

Graveyard, by Evil Robb Photography

Next up, Clutch. This band had always been in a weird, grey area for me. I liked the music well enough but there was always something just didn’t click with me and I could never quite put my finger on what it was. The one thing I was told over and over again was that I just needed to see them live and I couldn’t agree more. Studio recordings do not do this band justice and Neil Fallon’s vocals are out of this world. You can’t go wrong with harmonicas and cowbell solos either. I highly recommend seeing Clutch in person, it’s a completely different experience in the best possible way.

Clutch, by Evil Robb Photography

Clutch, by Evil Robb Photography

Clutch, by Evil Robb Photography

Clutch, by Evil Robb Photography

Mastodon were headlining this evening and I was reduced to a giddy schoolgirl like always. I had another friend with me who had never seen them before which only added to my own excitement. Almost half of the set consisted of songs off of Once More Round the Sun (Reprise) including my favorite track, ‘Ember City’. The rest of the set contained a decent mixture of Mastodon’s previous work, nothing off of Call of the Mastodon (Relapse Records) or Remission (Relapse Records) though. The one complaint that I have is that we weren’t treated to a rendition of ‘Blood and Thunder’ featuring Fallon like some other dates on the current and past tours have. I would have loved to see it person but I guess I really can’t complain because I still got to see them perform ‘The Czar’ and anything off of Crack the Skye (Reprise Records) makes me happy.

Mastodon, by Evil Robb Photography

Mastodon, by Evil Robb Photography

Mastodon, by Evil Robb Photography

Mastodon, by Evil Robb Photography

Mastodon, by Evil Robb Photography

Mastodon, by Evil Robb Photography

Every band was flawless and I walked away with two bands that I’m going to be looking into further and keeping an eye on. I can think of worse ways to spend a Sunday. I never did make it to the office the next day, but, that’s a different story.

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WORDS BY ALEIDA LA LLAVE

PHOTOS BY EVIL ROBB PHOTOGRAPHY


Wilderun – Sleep at the Edge of the Earth


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Sleep at the Edge of the Earth (self-released) is the second album by Wilderun, a Folk Metal band from Boston, Massachusetts. They aim to not only play Folk Metal that can hold its own against the great European bands, but that also incorporates some of the American Folk traditions.

The opening number, ‘Dust and Crooked Thoughts’ immediately brings about that folky feel with acoustic guitars and running water, and is a very serene opening to the album, mirrored by the beautiful ‘Sleep at the Edge of the Earth’ that closes the album. Following on the introduction come the bulkiest bit of this album: the tetralogy of ‘Ash Memory’. These four songs are connected but all have their own distinct feel. ‘And So Opens the Earth’ is very bombastic, while ‘Hope and Shadow’ is very peaceful and gentle. ‘Bite the Wound’ is out and out Metal, while ‘The Faintest Echo’ has a very dark sound. Besides this wildly varying but effective tetralogy, I especially like ‘The Garden of Fire’, which is a very heavy song and has really interesting melodies and lines that really caught my attention.

Sometimes when a band tries to merge all their favourite styles of music together they end up falling on their face, but not so with Wilderun. For me the key word of this album is balance. They highlight an acoustic guitar in the midst of an onslaught of metal, and add all the heavy edges to an atmospheric folk section. The different vocals styles – regular vocals, chant-like vocals, and grunts – are always in perfect harmony with the music they feature in, and that’s exactly the way I like it. In fact, I frequently found myself grinning with joy at a particularly good riff or vocal line, because this album is a lot of fun.

 

8.0/10

Wilderun on Facebook

 

LORRAINE LYSEN


Cancer Bats – Exalt – Gozu – Rozamov: Live at The Middle East Upstairs


cancer bats headline tour poster

It’s Friday, you’re out of work, and everyone’s either at the bar or out on a date. What’s a girl to do? Make her way down to Cambridge, MA to catch a show at the Middle East Upstairs with her friends, obviously.

Homegrown trio Rozamov took the stage first. I was familiar with them in name, but not in sound. I’m sure fans of doom would have enjoyed them but things require a little more energy and variety to keep my short attention span engaged. It wasn’t until the final song in their set that I started to get into things. I don’t remember what it was called but I believed the band mentioned that it was going to be featured on an upcoming split so keep an eye out for that.

Gozu, Photo by Meg Loyal Photography

Also hailing from Boston, MA were my favorite surprise of the evening; Gozu. Again, I was familiar with their name but not their music. I can’t say enough great things about this band and I’m actually listening to their album Locust Season (Small Stone Records) as I write this. It’s some dirty, stoner rock that makes you want to knock back a few beers and maybe one of your friends. In my case, the evening involved a lot of shaking my friends due to my excitement and an inability to shut up about their bassist. So, business as usual, really.

Exalt (12 of 12)

Exault, Photo by Meg Loyal Photography

Exalt brought their brand of metalcore to the stage next. I have never been much of a metalcore fan and as such, there were bits and pieces of songs that I enjoyed but nothing that I could really get into overall. It may prove to be a different story for fans of the genre. They were interesting to watch if anything and I can appreciate the hard work put into their performance even if it wasn’t really my thing.

cancer bats (16 of 35)

Cancer Bats, Photo by Meg Loyal Photography

Headlining this little shindig in the tiny show space were the one and only Cancer Bats. I had seen them three times before, as they have a habit of playing with bands I love, but this was my first time having the chance to see the boys headline their own tour in the US. Anyone who has had the chance to see the Bats live before knows that they always bring a lot of energy to their performances. Vocalist Liam Cormier is like a fire cracker in tight pants bouncing around the stage and it’s impossible to avoid getting swept along with him. The set list for the evening primarily revolved around songs in support of their latest release, Searching for Zero (Metal Blade Records). They play some of my favorites off of the album including ‘True Zero’, ‘Arsenic in the Year of the Snake’, ‘Beezlebub’, and ‘Buds’. I would have liked to have heard ‘Cursed with a Conscience’ as well, maybe next time. The set also included fan favorites such as ‘Bricks and Mortar’, ‘Hail Destroyer’, and everyone’s favorite Beastie Boys cover; ‘Sabotage’. I ran into a few bohabs during the course of the evening and even more made themselves known once the band’s tribute to Dave Brockie a.k.a. Oderus Urungus of GWAR, ‘All Hail’, began.

Cancer Bats, Photo by Meg Loyal Photography

Cancer Bats, Photo by Meg Loyal Photography

cancer bats (18 of 35)

Cancer Bats, Photo by Meg Loyal Photography

All in all, it was a great show. My main complaint was that Cancer Bats’ set seemed unusually short for a headlining band. I would have liked to have gotten at least another half hour out of them. The sound for the show in general was quieter than I would have expected as well but that may have been because there was another show going on downstairs at the same time. Apart from that, I’d say it was a job well done and now I get to go back to complaining about them needing to tour again until the next one!

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WORDS BY ALEIDA LA LLAVE

PHOTOS BY MEG LOYAL PHOTOGRAPHY


Dropkick Murphys Cancel Tulsa Show Following Fatal Bus Accident


dropkick murphys

Dropkick Murphys cancelled their show Sunday night (November 17, 2014) at Cain’s Ballroom in Tulsa, Oklahoma following the band’s tour bus being involved in an accident north of Austin, Texas, involving a male pedestrian suspecting to have attempting suicide.

The band issued a statement on the matter via Facebook:

Hello Tulsa fans. We have some tough news – we have to cancel tonight’s show at Cain’s Ballroom.

After last nights San Antonio show we were enroute to the dallas airport to drop off Al and then continue on to Tulsa (as we mentioned yesterday Al is flying home for the funeral of a life long friend)

Sadly however, just north of Austin we were involved in a tragic and fatal accident when a pedestrian suddenly ran onto the highway in front of our tour bus. Police suspect a suicide.

We were left with a driver that has been severely shaken up by the accident and a bus too damaged to continue onto Tulsa.

Throughout the early morning hours we tried every possible way to get our band and gear to Tulsa but we’ve simply run out of time.

As much as it pains us to miss a show and we truly apologize for it, we’d like to stop and acknowledge that a man has lost his life. Please keep him and any family he might have in your prayers.

All tickets purchased via phone or Internet will be automatically refunded. Those who bought tickets in-person can return to the Cain’s box office during business hours for a refund.

Tulsa: thanks for your support and understanding. We will see you soon!

Love, DKM


Cannibal Corpse – Revocation – Aeon: Kentish Town Forum, London, UK


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For some reason, Halloween is exempt from the Prohibition Against Mainstream Fun that prevents Metal fans from publicly enjoying other festivals. Admit that you like Christmas and you’ll be ejected from The Hall faster than if you’d been seen wearing a Five Finger Death Punch t-shirt, but celebrating Halloween is not just permitted but actively encouraged. Clearly not even a Cannibal Corpse gig is enough to spoil the one Metal Approved religious festival in the calendar, and tonight the Forum is packed with Teletubbies, scary clowns, lazily-made-up-skeletons and a man dressed as a giant penis.  The audience is absolutely wired from the off, moshing to silence and bellowing for walls of death before the first band even take to the stage.

Fortunately, their enthusiasm is not misplaced as openers Aeon, having apparently not been told that they’re just a support band, rip into their set as if they’re headlining. In a recent interview with Ghost Cult, Cannibal Corpse bassist Alex Webster described Aeon as a personal favourite of his, and it’s instantly clear why. They’ve been given a rich, heavy sound far beyond most openers and they don’t waste it, delivering taut, commanding bursts of powerful, Deicide-esque Death Metal with utter confidence and control. The audience prove that a band who act like headliners get treated like it, with a crowd response extremely healthy for a band playing at 7.30 to a venue that still hasn’t filled up.

Next up, Boston’s Revocation betray their simplistic name with an ambitious mash-up of Death Metal, Thrash and Hardcore with more progressive elements.  It’s a complex, often surprisingly subtle blend that eschews many of the more traditional trappings of Death Metal, with Hardcore-style shouted vocals (occasionally giving way to clean-sung choruses), jagged song-structures and frequently dissonant changes of mood and tempo within a track. On paper they’re an odd choice to support a band as orthodox as Cannibal Corpse, and some old school Death Metallers in the audience are visibly perplexed, but for most people here the sheer savagery of the performance and the band’s clear enthusiasm wins through, earning another hero’s welcome (not to mention a circle pit in which the man in the penis costume sticks out like the world’s sorest most misshapen thumb).

By the time Cannibal Corpse take to the stage the audience are so wired that they’d probably circle-pit to ‘Let’s Get Ready To Rumble’ (PJ and Duncan) on a loop, but the band don’t use that as an excuse to cut corners. By this point in their career, reviewing Cannibal Corpse almost seems pointless – if you’re reading this you know exactly what they sound like and whether you like them or not – but live the sheer, undeniable enormity of their performance simply overwhelms everything else. On record their familiarity can be almost comforting, but live they take repetition to the point of transcendence, one idea repeated so often and so powerfully that it annihilates everything else. The point of a Cannibal Corpse review is not to tell you what they sounded like, but to attempt to capture just how good it was.

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The first thing you notice about Cannibal is that the flashy showmanship and theatrics employed by both support bands are entirely absent.  With the exception of some endearingly awkward stage banter from George “Corpsegrinder” Fisher (challenging the audience to a headbanging contest; sincerely exhorting them to “keep supporting fucking Death Metal!”), there is almost zero communication between band and audience – they stand in a line, lock their feet in place and simply hammer out one song after another like there’s nothing else in the universe.  It seems jarring after the usual Metal posturing, but is entirely fitting and consistent with the band’s aesthetic of unrelenting, no-nonsense Death Metal.  The second thing is how utterly, terrifyingly tight and precise they are.  Watching Alex’s fingers is dizzying in itself, a more fitting visual accompaniment to the musical assault than any amount of shape-throwing or play acting would have been, and it rapidly becomes clear that you are watching a band who – twenty six years and thirteen albums into their career – still rehearse every single day. The music is literally everything, and within the tight parameters they have set themselves, they have attained absolute mastery.

Every possible criticism of their performance – the lack of variety; the relentless, no-pause-for-breath pacing; the lack of showmanship – misses the point of what it is they do, and why.  Those aren’t bugs, to steal a phrase from a different world entirely, those are FEATURES.  Cannibal Corpse are essentially a machine, constructed solely for the purpose of musically punching the listener in the face as many times as they can until the lights go on – if that’s not for you, that’s through no failing of theirs.

In a genre as insular and niche-focussed as Death Metal bands who dare to put their heads above the parapet will often be derided as sell-outs, but Cannibal Corpse are not just the most successful band in Death Metal, they are its purest and most dedicated adherents, and are still at the very forefront of the genre after twenty-six years.

 

Cannibal Corpse Setlist

Staring Through the Eyes of the Dead 

Fucked With a Knife 

Stripped, Raped and Strangled 

Kill or Become 

Sadistic Embodiment 

Icepick Lobotomy 

Scourge of Iron 

Demented Aggression 

Evisceration Plague 

Dormant Bodies Bursting 

Addicted to Vaginal Skin 

The Wretched Spawn 

Pounded into Dust 

I Cum Blood 

Disposal of the Body 

Make Them Suffer 

A Skull Full of Maggots 

Hammer Smashed Face 

Devoured by Vermin 

 

Cannibal Corpse on Facebook

Recovation on Facebook

Aeon on Facebook

 

RICHIE HR


Sleep – Earthless/Heavy Blanket Live at the House of Blues, Boston, MA


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I recently had the opportunity to catch Sleep for the first time while on their current tour when they stopped to play the House of Blues in Boston. I had been able to touch base with guitarist Matt Pike a few weeks earlier when High on Fire came through Cambridge as part of Converse’s Rubber TracksLive tour. According to Pike, the show had sold out, another four hundred or so tickets were released, and it sold out for a second time. Excellent.

The venue was just as packed as expected, however, I did not expect the number of hipsters that I saw. From where I was, it seemed like they may have outnumbered everyone else there. I also saw a sparkly fedora. It was strange, but interesting. The merch line was ridiculous and even longer than most of the ones that I got stuck in at the GWAR-B-QUE the week before. I was lucky enough to make it in and out in under ten minutes but there were quite a few that were standing in line for the majority of the show while merchandise sold out faster than I’ve ever seen before.

Earthless-meets-Heavy-Blanket

Openers Earthless and Heavy Blanket (J. Mascius) took the stage together to play a good chunk of their EP In a Dutch Haze (Outer Battery Records) in one long instrumental piece. I have minimal knowledge of either entity outside of this single experience so I can only comment on them as whole. They were great and you really don’t need to use words when you can let the music speak for you instead.

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Onto the main event! With a set clocking in at two hours, this was basically “An Evening with Sleep”. I’m used to seeing Pike play the role of front man with High on Fire, but I was great to finally see Al Cisneros in person. I’m pretty sure I annoyed the people around me enough with my Pike related fangirling anyway though. I just about lost it when they played ‘Aquarian’. Pretty much anything off of Holy Mountain (Earache Records) makes me babble incoherently and that album made up roughly half of their set, including the crowd favorite, ‘Dragonaut’. Other honorable mentions go to ‘From Beyond’, ‘Sonic Titan’, and ‘Dopesmoker’. We were also fortunate enough to witness the live debut of the band’s latest single ‘The Clarity’ which had been featured as part of the Adult Swim Singles program for 2014. The only thing I would have asked would have been the addition of ‘The Druid’ to the set list. Listen, I’m pretty sure we all would have stuck around for a three or four hour long performance. Maybe we’ll have better luck next time. Until then, heed their call and follow the smoke to the riff filled land.

Sleep on Facebook

Earthless on Facebook

Heavy Blanket on Facebook

ALEIDA LA LLAVE

 


Meshuggah – Between The Buried and Me: Live at The House Of Blues, Boston MA


Meshuggah-Tour1

For 25 years, Meshuggah has been terrorizing the ears and cortices of the music world, and so it was only natural that they’d bring along their apprentice masters of the mindfuck in Between the Buried and Me along for the ride. And what a ride, indeed. They could open a carnival of progressive wonders, where musical rules are meticulously followed and simultaneously twisted to Eldritch proportions. But enough of this posh music academy drivel, this is metal.

 

I’ve lost count of how many times I’ve caught Between The Buried and Me since their tour in 2009 with In Flames, but we’ll just settle for ‘a lot’. And having seen them a lot, one gets used to the Colors closing masterpiece, ‘White Walls’ being used as a closer rather than an opening. And one also gets used to the suspense in waiting for perhaps one, maybe even two gems pre-Alaska (Victory). What with the success of Colors (Victory) and having released three space-exploration reports since, they’ve obviously got a lot of material to choose from, and their priority seems to be the latter half of their career. Essentially, we can look forward to hearing mainly post-Alaska tunes as they played this night. Though keep your fingers crossed for their upcoming 15th anniversary.

 

Hillarie Jason-Concert Photography-Boston-House of Blues-Between the Buried and Me (1 of 1)-2

 

This was one of those odd sets where BtBaM played mainly their longer songs, thus making Paul Waggoner’s statement to interviewers all-too-real. Perhaps we can stop waiting for them to bust out ‘Mordecai’ or ‘Naked By The Computer’ when they’re wrist-deep into ‘Lay Your Ghosts To Rest’, immediately followed by ‘Fossil Genera’ to cap off another amazing set. They’re changing, and we’re being taken with them as listeners and watchers. Keep writing/keep dreaming.

 Hillarie Jason-Concert Photography-Boston-House of Blues-Meshuggah (1 of 1)-3

Meshuggah and BtBaM contrasted in a way that honestly took me off guard even though anyone with a working ear can see it immediately in their music. I refer to the aura created not only by 7-string guitars that make the sound of super-astronauts punching asteroids into other ones, but also their stage presence and light show. BtBaM was rather conservative this time, with no fancy screens, just stage lighting that undulated chromatically with the music, and kept their beards in sight. Meshuggah on the other hand was strobe hell, with lights that must be programmed by acid wizards for all of the meticulous timing. And no, you couldn’t see any of Jens Kidman’s faces from the floor unless you wanted to risk blinding yourself. Polyrhythms and infectious grooves were the name of the game. They even used the disco ball during ‘Gods of Rapture’. I don’t even remember the last artist who I’ve seen use that, if ever. Maybe The Roots?

 

 Hillarie Jason-Concert Photography-Boston-House of Blues-Meshuggah (1 of 1)-5

This being their 25th anniversary, they played the “hits”, if you will, opening up with the caustic ‘Future Breed Machine’, an industrial hellride banger that never fails to incite mechanised violence. Plenty of material from their debut album, Contradictions Collapse (Nuclear Blast), including the robotic thrash of ‘Greed’ and the earlier mentioned ‘Gods of Rapture’. Choice tracks from Chaosphere, one being the mighty ‘New Millennium Cyanide Christ’, and quite heavy on the Koloss. ‘Straws Pulled At Random’ was my favourite of the night, though I wish they had found room for ‘Spasm’ as well, while they were doing Nothing.

 Hillarie Jason-Concert Photography-Boston-House of Blues-Meshuggah (1 of 1)-4

Encoring with Riddler-esque green lights and a back-to-back delivery of ‘In Death – Is Life’ and ‘In Life – Is Death’ from Catch ThirtyThree, I can say they’ve officially won me over. Nevermore will I be ambivalent about Meshuggah, as they put on a killer show, even if their crowd doesn’t know the physics of how a circle-pit should work. During the fast parts, people.

 

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Meshuggah Set List

Future Breed Machine

obZen

The Hurt that Finds You First

Do Not Look Down

Cadaverous Mastication

Greed

Gods of Rapture

Neurotica

New Millennium Cyanide Christ

Break Those Bones Whose Sinews Gave It Motion

Bleed

Demiurge

Straws Pulled at Random

 

Encore:

Mind’s Mirrors

In Death – Is Life

In Death – Is Death

 

 

Meshuggah on Facebook

 

Between The Buried and Me on Facebook

 

WORDS: SEAN PIERRE-ANTOINE

 

PHOTOS: HILARIE JASON PHOTOGRAPHY


Amon Amarth- Enslaved- Skeletonwitch: Live at the House of Blues, Boston, MA


HillarieJason1-9By the end of this year, I will be looking back at all of the great shows that have come around in the year 2014. I can guarantee that the evening of February 1st, at the House of Blues Boston will certainly be one of the first I touch upon. On this evening, the Boston crowd was treated with stand out acts: Skeletonwitch, the almighty Enslaved, and one of the biggest metal bands out there today, Amon Amarth. By the end of this show, I was dehydrated, tired, broke, but oh so very happy with the beating my body, specifically my ears, had taken.

To start off the show with a bang was Ohio’s own black/thrash five-piece, Skeletonwitch. Personally, I knew with an open slot, and a new album out, we would probably see a good selection of newer material. About half of the set was of new material, but boy did they pick out the best tracks! My favorites out of the new tracks were ‘I Am of Death (Hell Has Arrived)’ , ‘Beneath Dead Leaves’, and the ever epic, ‘Burned From Bone.’ The Boston audience was also treated to some older tunes such as the classic, ‘Beyond the Permafrost’, ‘Crushed Beyond Dust’ , and the closer, ‘Within My Blood.’ Even with a shortened set having to be the opening act, Skeletonwitch provided proof as to why they are one of my favorite bands today and they should be yours as well! Just when some thought it was safe to go grab a quick beer or hit the merchandise tables, Enslaved was quickly set up and ready to go.

As Enslaved was walking out to the stage with their intro sample playing, I heard someone behind me say something to the effect of HillarieJason1-6“oh yeah I looked up this band, they are boring.” Let’s just say after the next 45 minutes, they had quite a different opinion of the legendary Enslaved. Of course with such long, wonderfully created songs, you don’t quite get a lot of songs from such a “short” set. Enslaved was able to play six songs for us that night and quite honestly, save one song I still am dying to see performed live, I really can’t complain at their selection! Enslaved’s newest release, RIITIIR, was quite the spectacle after it became available and still grows on me to this day. We fortunately got to hear two very good tracks off of the album. The feverish Boston head-bangers got ‘Death in the Eyes of Dawn’ to open up the set and then got the album-titled song, ‘RIITIIR’ halfway through the set. Even if there were only two newer tracks played, this gave room for some previous favorites like ‘Ethica Odini’ and the usual closing song, ‘Isa.’ It was also a treat to hear an absolute classic, ‘Allfaðr Oðinn’ from the year 1993 (which very well may be older than a portion of the fans in attendance)! Overall, Enslaved has proven the test of time and I do not see them slowing down by not even the smallest of margins. I did get a chance to mention to keyboardist/clean vocalist, Herbrand, over a beer down the street that the next time Enslaved makes their way through Massachusetts that we must hear the amazing single, ‘Roots of the Mountain.’ He seemed to agree with my plea. As if there is any doubt that I would make it to the next Enslaved tour, but this moment certainly cements it.

 

 

Finally, it was time for the Swedish Viking Metal Titans, Amon Amarth to make their way to the stage and literally bring us to the might feasting halls of Valhalla to speak of the many tales in Norse Mythology. Before we get into the amazing set that was, I have a slight tale of my own regarding Amon Amarth and Enslaved earlier that day. It quickly became shared throughout the internet that on the very day this tour had come through Boston, that a few members from Amon Amarth and Enslaved were seen at the Boston Bruins hockey game in the newly created, special edition Amon Amarth Hockey Jerseys! These have been on sale throughout the tour and of course, I had to get one. Now back to the show. Starting off the night was the newly made music video song from Amon Amarth’s latest album, ‘Father of the Wolf.’ During this intro, Johan Hegg (vocals) had come out wearing his recently obtained Boston Bruins/Loui Eriksson jersey which led to a hug pop to kick off the set! Since this was the headlining tour for the new Amon Amarth album entitled Deceiver of the Gods, all in attendance were very excited to hear the new material live and did the five Vikings from Sweden ever deliver. Some tracks included ‘Shape Shifter’ , the album title ‘Deceiver of the Gods’ , ‘We Shall Destroy’ , and ‘Warriors of the North.’ Personally I was hoping for ‘Under Siege’ but it was not meant to be. Amon Amarth had made up for this ever so small discretion by playing classics like ‘Death in Fire’ , ‘Free Will Sacrifice’, ‘Destroyer of the Universe’, and ‘The Last Stand of Frej’. Just when it appeared Amon Amarth was going to set sail back to Scandinavia after the single ‘War of the Gods’, they returned for a two song encore to ensure even the greediest of the Bostonians at the House of Blues last night went home happy. The encore consisted of the huge single, ‘Twilight of the Thunder God’ and then wrapped up the night with the sing-a-long ‘The Pursuit of Vikings’. Something about that last song’s opening riff just really gets everyone fired up and it gets me every time I have the pleasure of seeing this band play. Overall, this tour was exactly as I was hoping for. Getting to meet the bands afterwards and enjoy a beer with Herbrand was just icing on the cake after what a great show and overall experience I got to share with some close friends. In all honesty, I wish House of Blues had canceled their rave night that evening so all three bands could have played longer sets or maybe even had a local opener start the show off. At this point, however, I am just being greedy at what was already an early candidate for Show of the Year.

 

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Amon Amarth on Facebook

Enslaved on Facebook

Skeletonwitch on Facebook

Words: Tim Ledin

Photos: Hillarie Jason Photography