The first annual Deathwish Fest was met with a ton of enthusiasm from hardcore and metal fans far and wide. Set in Cambridge MA, at the legendary Middle East Night Club over two days, near the home base of Deathwish Inc. (Records), it was a near immediate total sell out, before changing venues. Headlined both days by Converge and Trap Them, Day One also featured Cult Leader, Doomriders, Blacklisted, Modern Life is War, Self Defense Family, and Harm Wulf. Picking up on Day Two with the review is our own Sean Pierre-Antoine.
I was almost certain I wouldn’t make it to Deathwish Fest since tickets kept selling out mere minutes before I could get online to buy them when I had the money to. And by the time tickets had run dry, I was too financially disadvantaged to even fathom attending, and thus I thought my life was spared from the madness sure to unfold during this showcase of the best that Deathwish Inc. -run by Jacob Bannon of Converge- has to offer to our perpetually rotting world of pain. Luckily, a friend/musical collaborator scored a couple of extra tickets from someone at non-extortion prices, and long story short, I didn’t have to see Devourment instead that night. I hear they were kind of disappointing anyway, but we’re not here to discuss the merits of something I didn’t attend. These are the facts.
Unfortunately I ended up missing the first handful of bands because I was not in possession of my own ticket. Poor planning on my part, and my benefactor being a little later than planned factored into my not catching Boston’s most negative wrecking crew in New Lows, Harm Wulf, a project run by George Hirsch of Blacklisted (celebrating the birthday of Robby Redcheeks), and what I have heard described as “Deafheaven if they were hardcore”, the angular Oathbreaker. No matter, as I have seen and caused my share of mayhem during NL, am unfamiliar with Harm Wulf and Blacklisted, and I’m sad to admit, but Oathbreaker just doesn’t pique my interest.
I was, however, quite interested in catching North Carolina’s YAITW (mercifully short for Young And In The Way), a mixture of Cursed style hardcore/crust/sludge and the most cruel black metal their side of the Mason-Dixon Line, drawing from the legendary Mayhem, among others. For three years they have done this, and for three years it has been good, for there was equal amounts headbanging to the sections that were reminiscent of Norwegian masters, and hardcore pit thuggery that reminded you of their Deathwish heritage. With Black Metal and Hardcore imagery becoming ever more intertwined in a morass of inverted crosses, endless images of our beloved moon in varying states of decay and occult significance, and desolate wastescapes dispensing of all colour schemes in favour of nihilistic monochrome, is it any small wonder that a band like YAITW is here to fill the void our souls once inhabited before we picked up out first Misfits record?
Next up were the Louisville delegation, Coliseum, fronted by artist extraordinaire Ryan Patterson, who has penned album and merchandise designs familiar to anyone into hardcore with a sludgy bent, which is, coincidentally, the kind his crew plays. I really do want to like this band more; they simply fall into the same camp as their peers in Doomriders, who have killer imagery and a respectable mix of sludge, hardcore, and good old fashioned home-cooked rock’n’roll -I call it ‘rock’n’core’, spread that term if you want-, but unfortunately the music just doesn’t get me excited in that visceral way, and I see that as a huge impediment to their appeal. It’s no fault of theirs, as they do wield riffs massive as the hands of a bearded giant, and their tempos are certainly foot-tapping enough to keep them out of the ‘smoke break band’ category for me, but even during their most rousing songs, the crowd moved nary an inch except to either nurse their drinks or socialise while the band dutifully chugged away on stage for the whole of their set.
Blood stayed at a low boil until hometown heroes of Boston Hahdcoah, Shipwreck Ad took the stage for what was one of the shortest but also more fulfilling opener sets of my show-going career. Packing in only three or four songs of intense East Coast hardcore the way only witnessing Lansdowne Street on Game Day can provoke, this rare but special appearance was quite a treat for those both familiar and not. Being gentlemen and not overstaying their welcome, they allowed Salem, NH/Seattle, WA hardcore polymaths in Trap Them to perform their evil works unimpeded. For an unlucky 13 years, Trap Them has been a caustic fusion of face-fucking grind, low-fi crust, and dizzying metalcore, topped off with that infamous murky Swedish deathsludge guitar tone. Consistently potent and amusical in its hateful delivery. Opening with a new track entitled ‘Salted Crypts’, which is just as negative as the material before, this band shows no signs of ever brightening their musical worldview, and perhaps it’s best/worst if they keep it that way. Whether their assault is a dirgey 3-4 minute long breakdown interspersed with ear-piercing feedback, or tumbling down a mountain of human skulls at breakneck gallop speed, I felt my lips peeled back in a perpetual, hateful snarl that just wouldn’t disappear until each song, or rather, nihilistic sermon, was over. Is it really true what your parents say about rock’n’roll making you evil?
By the time the night’s honorees in Converge made it onstage, you can guess I was already a little tired from the earlier acts, because one has to get their money’s worth. It is with great pleasure that I may now announce that I survived Deathwish Fest without injury. The boys opened up with ‘Dark Horse’, and comboed immediately with ‘The Broken Vow’ and ‘Aimless Arrow’, which ensured that few lungs were left unshredded even in their first few minutes. The nightmare in summary; ‘All We Love We Leave Behind’ roared past in what seemed like merely a minute when in reality it is four; ‘Axe To Fall’ crushed like a fallen monument upon the helm of a once grand civilisation; ‘Drop Out’ crept in and out of the shadows before disappearing in a flurry of semi-melody; ‘Trespasses’ and ‘Last Light’ reached out to crush the exposed and wounded hearts of all who can identify with the countless disappointments that Converge’s lyrics detail in resplendent tortured aesthetics. Joined onstage by Stephen Brodsky of like-minded metalcore pioneers Cave In, the band ended their set with a special encore of ‘Plagues’ leading into their celebrated 9-minute epic from No Heroes, the coveted ‘Grim Heart/Black Rose’, for a rare performance. God, if you exist, cross out my curséd soul; it would bring me to tears were I hydrated enough.
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WORDS: SEAN PIERRE-ANTOINE
PHOTOS BY MEG LOYAL PHOTOGRAPHY