Fellow site reviewers Michael and Ryan, our shithead friend Nick, and I attended this wonderful, little show last week. Nick and I are big Enslaved fans. Ryan likes Royal Thunder, who we all love, and Michael just goes to whatever shows we tell him to go to. Needless to say, we were all pretty pumped for the bill. I love Ancient VVisdom and couldn’t wait to see them live for the first time. The rest I’ve seen before, but that made me all the more excited to see them again. Ryan was what you would call a bitch the whole time. He had a “cold” or something and whined from the get-go. Nick and I like to wait outside the venue for hours so we can get up front; however, waiting outside in forty degree weather in NY made sick Ryan more cranky. A strange, small man in a wizard hat chatted us up a bit before we entered the venue. Once inside we all took some pisses, cold medicine for Ryan, and headed up to the stage area. After four seconds of standing in the front row, Ryan decided he was too sick and headed up to the balcony to be lame. Nick followed so he could get drunk. Michael and I stayed front row. Flash-forward through an hour of waiting and us talking about Dark Souls and the concert begins. Context over. Continue reading
Archive for metal
Live Reviews – Winter Rite Tour: Ancient VVisdom, Royal Thunder, Pallbearer, and Enslaved. Bowery Ballroom, Manhattan, 2/22/13Posted in Ancient VVISdom, Enslaved, Live Reviews, Pallbearer, Royal Thunder with tags a godlike inferno, ancient vvisdom, Arve Isda, bowery ballroom, brett campbell, Cato Bekkevold, cvi, deathlike, doom, enslaved, folk, frost, Grutle Kjellson, hard rock, Herbrand Larsen, ice dale, isa, Ivar Bjørnson, josh weaver, metal, mlny parsonz, nathan opposition, occult rock, pallbearer, riitiir, royal thunder, winter rite tour on March 4, 2013 by Nicholas
No Comment Records
The sophomore effort by bizarro circus sounding punk/metal band Stolen Babies has arrived! Yeah, it came out in October, but I had difficulty finding it — their merch store was down for a bit — but I have finally got my copy (along with a sweet-ass t-shirt). I am a pretty big fan of the Dillinger Escape plan; I originally got into Stolen Babies when Gil Sharone (drummer) joined Dillinger, and I read he was from another band. At the time, I was just getting into more agressive music such as Dillinger, thanks to the Mike Patton EP (Irony is a Dead Scene). So, when I heard Stolen Babies, they were way more my speed. The bizarre theatrical approach was very tasty. I listened to the debut and was instantly in love. The mix of stand-up bass, accordion, electric guitar, and Gil’s insanely tight drumming made for one kick-ass album. Flash forward to 2012, and and I’m seeing them in the flesh opening for the all-mighty Devin Townsend (whom they complemented very well, excellent show), which is where I hear they have a new album coming out. Well, color me giddy. Continue reading →
It’s no secret here that we are big fans of Blood Music (read reviews for their Lykathea Aflame and maudlin of The Well releases) and what it is they are doing as a small distributor. Putting out incredible limited editions of classic albums on vinyl and CD as well as signing some newer bands, Blood Music is making their mark among metal fans. They were kind enough to answer some questions for us. Covering their beginnings to how they go about choosing and signing artists, they gave us the juice. So read on, and enjoy.
Blood Music: Thanks for taking an interest! We’re surprised and impressed that so many people are excited about our releases.
SC: So let’s start at the beginning, what made you want start a small label?
BM: Let’s flash-forward to BEFORE the beginning:
This is the odd thing. I think my first idea for starting a label came strongly about seventeen years ago when I first got into hardcore. I was approaching all kinds of local bands about making a split 7″, and they all agreed, but I never got the courage. I even started up my own distro, but I was such a shy kid that I had trouble selling the records. I carried them in a bag to only one show. At one point, I just opened it on the floor, and people started grabbing them, as there were many rare records, but I never took it out again.
I also had people send me money for a catalog (back in the days when people PAID to get catalogs), but I was too shy to make a catalog, and I always felt like a terrible person for never sending it.
The actual beginning: Continue reading →
In 1980, Iron Maiden set a new precedent on the Hard Rock and Metal scene all over the world. Since then, they have had tons of members and loads of great tunes creating one of the best collections of all time. But recently, their art form as a band has changed sending them into a slow, downward spiral that will likely leave fans buying their new music simply out of habit.
Iron Maiden hits the metal scene in England hard and fast with their first album featuring singer Paul Di’Anno on vocals, Guitarist Dennis Straton, Guitarist Dave Murray, Bassist and lead songwriter Steve Harris, and Clive Burr on the drums. This album not only defines the band’s sound but sends you on a jizz fest with the awesome riffs of songs like “Phantom of the Opera” and “Charlotte the Harlot.” And who doesn’t love the song “Iron Maiden,” by the band “Iron Maiden,” off the album Iron Maiden? No one, that’s who. Continue reading →
Time to fucking talk about Opeth. If you read my review of Storm Corrosion, you will be aware of the fact that I am a fan — well, fan-boy. I will admit it. I love everything Opeth has done. I like then when they are heavy, I like them when they are soft, I like them when they are wanking (figuratively and literally). Any fan of modern prog rock/metal knows of these mega titans. However, people seem to be pretty split on Opeth. Love ’em or hate ’em type deal. Anyway, I am going to discuss the Deliverance and Damnation albums. You know, like a double feature? Because they were recorded together… And released within a couple months of each other… And they are by Opeth. The band. Still with me?
These albums were released when the band still consisted of its greatest lineup of Mikael Akerfeldt, Martin Mendez, Martin Lopez, and Peter Lindgren. Both albums were produced and engineered by none other then Steven Wilson of Porcupine tree. He also lends some vocals and instrumentation here and there. Akerfeldt has said he wanted to make a super heavy Opeth record but also didn’t want waste a bunch of nice soft guitar parts he had. So Mr. Jonas Renske of Katatonia suggested recording two albums. Thus Deliverance and Damnation were born: Delieverance being your typical Opeth album filled with head-crushing progressive metal while Damnation focused on soft, shorter prog rock and acoustic songs. Opeth is no stranger to mellow songwriting, but it would be the first album that consisted entirely of that style. Continue reading →