Recent Posts in metal - Page 6
February 26, 2015
photos by Greg Cristman
1349 / Origin @ Gramercy Theatre - 2/23/15
The half black metal, half death metal tour of 1349 & Wolvhammer and Origin & Abysmal Dawn, respectively, rolled into NYC on Monday (2/23) at Gramercy Theatre. The crowd seemed biggest for Origin, and the mosh pits were the craziest during their set and Abysmal Dawn's. At one point during Origin's set, the singer lined up a wall of death, pitting the black metal fans on one side against the death metal fans on the other.
If you went, what did you think? Which side of the wall of death were you on? More pictures below...
February 25, 2015
by Andrew Sacher
photo: Dropdead at Acheron in 2013 (more by Fred Pessaro)
Providence hardcore vets Dropdead have been at it since '91 and they still have most of their original lineup. Their most recent release was last year's split EP with Brainoil (recorded during the same sessions as their 2011 split with Converge) which has them sounding as ripping as ever. Check it out below.
Dropdead will be in NYC tonight (2/25) at Acheron for the Brooklyn installment of Acheron D-Fest with Creeping Dose, Narcoleptics and Grudges (tickets). Acheron D-Fest also has a Mexico show on Saturday (2/28) which Drophead headline with different support.
Then in March, Dropdead will hit the road again with the great Fucking Invincible and V-Sect. That tour hits NYC once again at Acheron on March 27 (tickets TBA) and also includes a Saturday Matinee at ABC No Rio on March 28 with Mad Diesel and NoWay as openers too. That night they play an Elks Lodge in Ridgewood, NJ.
All dates are listed, with the EP stream, below...
photo: Slayer at the Theater at MSG in 2013 (more by Caroline Harison)
On their way from 'Roo to Amnesia, Slayer will fit in a few Northeast shows, including Long Island's Paramount on June 16 and 17. Tickets for those shows go on sale Friday (2/27) at 10 AM with a venue presale starting today (2/25) at 10 AM. Use the password: PULSE. All dates are listed below.
Slayer are also releasing a Record Store Day (4/18) single this year. The A-side will have new song "When the Stillness Comes," which is also set to appear on their TBA new album, and the B-side is a live version of "Black Magic" from their 1983 debut Show No Mercy, that they recorded at Germany's Wacken festival last year.
In related news, former Slayer drummer Dave Lombardo's band Philm is currently on tour. They played NYC at Saint Vitus this past Monday (anyone go?) and will return here this coming Monday (3/2) at The Stone.
Watch a full-set video of Slayer at Wacken 2014 (including their performance of "Black Magic"), with their list of tour dates, below...
February 24, 2015
by Andrew Sacher
Sannhet have been one of Brooklyn's best post-metal bands for a while now, and next week they'll release their anticipated sophomore album (and first for The Flenser), Revisionist. We already posted the crushing single "Lost Crown" and the title track, and now they've made the whole album available to stream. It's soaring, epic music that stays captivating from start to finish, despite the lack of a vocalist. And sure their metal ties make this a heavy album, but it's nothing that wouldn't appeal to fans of Explosions in the Sky and Sigur Ros as much as it would appeal to fans of Neurosis. Take a listen below, via Pitchfork.
Pitchfork also interviewed them, and they talked -- among other things -- about the band's light show, which you know is a big part of their performance if you've seen them live. Says bassist AJ Annunziata:
It's meant to be as choreographed as possible--I trigger the flood lights and the strobe lights with my foot--but it does still have a little bit of openness and responsiveness to the set. John and Chris were apprehensive about the lights because, again, it was like defining a theme or idea to the songs, and they're very much about keeping that ambiguous and interpretative. So they made a rule for me when I was making the projections: They cannot be tied to any one realistic physical thing or idea. So I did a lot of animations akin to animation experiments from the early part of the 20th century.You can see that light show in action when the band hit the road with Liturgy this spring. They also play their hometown sooner than that with the likeminded This Will Destroy You and their Flenser labelmates Planning for Burial. It's night 2 of TWDY's BrooklynVegan-presented two-night stand at Saint Vitus this week. Both sold out.
by Andrew Sacher
photo: Dorthia w/ Windhand at Vitus in January (more by Keith Marlowe)
Dorthia Cottrell, frontwoman for Richmond doomers Windhand, is a week away from releasing her debut self-titled solo album (due 3/3 via Forcefield), and she's now put out another of its songs, a cover of Gram Parsons' "A Song For You." That's an apt choice, considering her previous singles were indebted to early '70s folk, a style Dorthia's as convincing at as metal. Check it out below.
She's also announced a March record release show happening in her hometown, followed by a full solo tour which begins in NYC on April 29 at Saint Vitus. TIckets for that show will be on sale soon. Most dates are with Nate Hall, but no opener announced yet for the NYC show.
All dates are listed, with the new song stream, below...
photo: Om at LPR in 2014 (more by Greg Cristman)
Al Cisnero (Sleep) and Emil Amos' (Grails, Holy Sons) band OM have a few dates coming up this year. They were part of today's initial NXNE lineup announcement, and also playing Santa Ana's Psycho California Festival (May 15-17) with Sleep, Pentagram (performing First Daze Here), Cult of Luna, Earth, Kylesa, Russian Circles, Eyehategod, Indian, Pallbearer, Old Man Gloom, Cave In, Tombs and more. Tickets for that fest are on sale, full lineup below.
Full tour schedule, a video, and the Psycho California lineup, below...
by Andrew Sacher
California's Sabertooth Zombie may have hardcore roots, but new single "Crazy Endings" is sludgy stoner rock with riffs recalling '70s proto-metal, Cream-esque wah pedaling, and an air of swampy psychedelia. The track's from their upcoming EP, Human Performance IV, due March 3 via Twelve Gauge Records (pre-order). It was recorded and mixed by Sam Pura, who's also worked with Self Defense Family, Basement and others. The new track premieres in this post and can be streamed below.
Philly doom band Crypt Sermon released their debut album, Out of the Garden, today (2/24) via Dark Descent Records. Joseph Schafer did a lengthy profile on them over at Invisible Oranges, and here's an excerpt about the new record:
Even though the Year of the Ram has barely begun, Out of the Garden has secured its place as an Album of the Year contender.The band told us how their melodic, Candlemass/Solitude Aeturnus-inspired style of doom was a reaction against "that whole stoner/sludge thing." And how none of them had played in a doom metal band, most interestingly, including singer Brooks Wilson:
Crypt Sermon will not be saving any souls, but they might save something just as intangible: doom metal itself.
That doom metal needs saving is not obvious at first brush. The first of metal's myriad subgenres, doom metal has always carried crossover appeal and staying power first because it's the style of metal most indebted to blues and second because, even if only through Black Sabbath, doom gets some play on classic rock radio in middle America. 2014 proved particularly kind to doom: Yob made Rolling Stone's top 50 albums list (not metal albums, mind you), and Pallbearer mopped up industry accolades, for starters. What they have in common, is an emphasis on atmosphere, tone and sound design, sometimes at the expense of riffs, and riffs, as envisioned by Tony Iommi and Geezer Butler, are the core of doom--of metal--as a genre. Further, considering how easily the smallest amount of mainstream exposure turned great bands like Mastodon and Isis into the flashpoint for swarms of insufferable copycats, its easy to envision the next few years as a morass of tuneless plodding junk being sold as "doom."
"I've certainly spent most of my life singing in some manner," Wilson said. "But most of the time, I'd just be singing like folk and country music, but I've also been in screaming punk and hardcore bands and even metal bands for some time now, so that wasn't unfamiliar to me either, but I've never really tried or given much effort toward rock singing. It just wasn't on my agenda until I just one day turned to Steve and I was like, 'I can do that.'"And fortunately, Crypt Sermon have in fact written a great song. Seven of them actually, all of which make up the new album and can be streamed (via Stereogum) below...
It may seem glib, but even in a record composed of such compelling instrumental performances, Wilson's vocals are the main selling point. in a key divergence from the epic doom records that inspired Crypt Sermon, Wilson sounds off like he's got a pair, to quote Full Metal Jacket. He gets the most he can out of his relatively gruff midrange, rather than straining for high notes he can't comfortably reach--that is to say, unlike many metal singers, Wilson has an actual sense of pitch, not just a good-for-metal sense of pitch. More importantly, he delivers his own lyrics with a great deal of conviction. To crib a term more suited for vintage rock and R&B, Wilson sings with soul, or at least with a sense of conviction.
So Crypt Sermon recorded their debut album armed with a jackhammer drummer, two world-class shredders, and a firehorse singer who can innovate a haunting song out of a folk classic in, by his own admission, seconds. That alone is not enough to change the doom game. The bands that Crypt Sermon is positioning itself in opposition to sport great vocalists and musicianship as well, but what sets Jansson, Wilson and company apart is a sense of deference to doom's origins, because as the oldest kind of metal, doom is also the subgenre that shares the most chromosomes with rock music, and that's by design.
...Even on their first album, Crypt Sermon is aiming for the history books. "Songwriting is absolutely key. It's the most important thing to me in any music, especially meta. I think there's a lot of doom--it lacks that," he said. "All of my favorite albums, all the classic records you grew up listening to, you still hear people talking about them. You still go back and listen to them because they have longevity because the songs are just so well-written and done. It's so important to focus on crafting and writing a great song."
February 23, 2015
photos by Greg Cristman
Hull at their final show
"Did we finally sell out a show after eleven years?" asked guitarist Nick Palmirotto from the stage. "I'm gonna fucking cry."Beloved Brooklyn sludge band Hull has now officially called it quits, but went out with a bang at their sold-out final show at Coco 66 on Saturday (2/21). The review quoted above is full of praise, and we couldn't agree more. It's sad to see them go, but they were great as ever on Saturday, and so were all three openers: Elder, Wizard Rifle and Cleanteeth. More pictures of all the bands, and setlists, below...
Snow, slush, and wintry rain couldn't keep a throng of metalheads from packing the house at CoCo 66 Saturday night to bid farewell to Hull. The progressive sludge band has been a staple of the Brooklyn metal scene for the past eleven years but have decided to disband as life takes each member in new directions.
...The band played a deliberately unhurried, two-hour set, pausing between songs to thank individuals in the audience for being part of Hull's history. (During one break, someone in the audience grabbed a mic to say, "You guys have been up here thanking everyone, and I think everyone should thank you guys.") The set featured tunes from the full catalog, stretching back to the epic one-song Viking Funeral LP from 2007. Sound guru Sean Ray of Stray Audio was on deck, mixing and recording the gig in addition to lending extra equipment to the band to ensure optimal sound, and the results were appreciable. About midway through, the third founding guitarist Drew Mack, who left the band in 2012, stepped onstage to revive the triple-ax attack of the original lineup. [Village Voice]
by Klaus Kinski
photo: Helmet at Bowery Ballroom, night 1 (more by Mathieau Bredeau)
New York City alt-metal behemoths Helmet wrapped up their run of three NYC shows on their ongoing tour celebrating the 20th anniversary of their seminal third album "Betty". We already posted pictures of night 1, and here's our review of night 2 -- Saturday (2/21) at Bowery Ballroom -- an unbelievable two and a half hours of bowel-loosening heviosity that had the packed, sold-out crowd in a pushy-shovey, high-fivey, singin' along frenzy.
Singer-guitarist Page Hamilton is the only original member of this band who has had a number of personnel changes since their inception in NYC in 1989. There are legions of insufferable Helmet line-up purists who will no doubt take to the comments section any second now to remind the world that, without drummer John Stanier, the current iteration of Helmet is impure. As much as I agree that Stanier is a solid drummer, to poo-poo this band and this tour because there is no Stanier is a little unfair. Current Helmet drummer Kyle Stevenson absolutely crushed it Saturday night. Not only is he a fantastic drummer, but he completely understands the music of Helmet and knows how to do it right. He was simply incredible. Guitarist Dan Beeman and bassist Dave Case completed a rhythm section that was tighter and more crushing than Helmet has sounded in years; you could shake a house off of its foundation with Case's bass tone.
Mercifully, there were no openers for this show and the band got right to it at 9:15pm on the nose with a spotless performance of the album "Betty" in full. In my opinion, Saturday night's performance of "Betty" sounded better than the album ever did. It was so much heavier, more violent and more scorching. I always liked "Betty," but ever since I first heard it in 1994 I always thought it was a little anemic. The skeleton for heaviness was always there, but I always felt that the potential for heaviness never fully gestated. Saturday night, though, tracks like "Wilma's Rainbow," "Biscuits for Smut," "Rollo," and "Speechless" simply ground my eardrums to a watery pulp. There was a physical component to the loudness and heaviness that you could feel in the pit of your stomach, and it never relented.
After "Betty", Helmet performed a 10-song second set of greatest hits that included "(High) Visibility," "Role Model," "FBLA II," "Unsung" and more. It was a really solid selection of tunes that spanned their entire career and it really kept the apeshit momentum of the show going strong. This second set was followed by a three song encore featuring "Sinatra," "Repetition," which was an audience request, and finally "In The Meantime." I don't get out to shows as much as I used to, but this Helmet show was hands down one of the most satisfying show-going experiences in recent memory. Helmet's level of performance is better than ever and NYC was so lucky to have three opportunities to see these masters of heaviness. If you missed this show because you're hung-up on the current line-up, I pity you. Aside from the hot fart smells that seemed almost inescapable no matter where I was standing, this was Helmet in peak form.
Night 1 pics here. Night 2 setlist and a video below...