I actually got out of work early for this one due to my boss telling us to just go the hell home; he's got some kind of inverse Korean complex and doesn't feel comfortable leaving while we're still around; as a consequence I got onto 93 before the big clot of traffic coming out of Boston hit, and got up just before doors. Hopefully this'll keep up; the fall touing season is just lousy with Mark's shows, and a bunch of them are really good.
Troll [4/7]
This was the third time I've seen this band, with, as far as I can tell, the exact same setlist. They added a little wrinkle this time by letting a flanged-out low end dominate their sound, but it was the same songs in mostly the same order. The vocalist referred to them as "the generic opener that nobody remembers", and while this is true to a certain degree, Troll does have some memorable riffs and lines; it's just that they get tiresome after a while.
In contrast to a lot of Mark's shows, the front row was full right from the start, and there was never any question about there being more people on stage than in the crowd. Of course, this was probably due to the "non-core" people who came for Edguy (and camped the front all night), and weren't aware of how this place operates. Hence the exchange between one of the newcomers and the security while I was coming in, which went something like this:
N00b: Do you have anything to eat in there?
Secu: No, I don't think so. They sometimes get pizza in later, but we just opened.
N: Ok; when's the band start?
S: First band goes on at seven.
N: That's the opener, right?
S: Yeah, that's the first opening band. The first local opener, there's seven bands tonight.
N: Seven?! When does the show get out?
S: Uh, around one, I think.
N: Wow, one o'clock, I didn't realize that. (N00bs huddle up in consternation before leaving to find a BK.)
SRSLY, LERN2P2PVENUE. I was actually surprised that there were only 3 locals against 4 nationals, but the bands got longer sets, and this may be an indication that Bernie's working out who's going to draw from outside the core scene, and will continue to refine the moderation of his policies in the future.
Chapter 50 [4/7]
I'm sure that it's possible to have a more pedestrian metalcore band than this one. I just have no idea how that would be implemented. The sound was pretty much a direct follow-on to almost everything going currently in the "bands who wish they were as cool as Heaven Shall Burn and Shadows Fall" caption, and there was the persistent suspicion on the part of several people (documented elsewhere) that some band members were actively trying to look like people from bigger and better metalcore bands. Whether this was to drive interest in their band or just to pick up girls with lip piercings and Myspace haircuts was unknown at press time.
As a convenient distraction, while this band was playing, one of the guys from From The Shadows came up and tried to sell me Firewind tickets; I didn't bite, but might end up going to the gig anyway. The 29th is a busy night; if I can remember to order a ticket I might go to Megadeth (though I'm not real thrilled about their openers), and if I'm poor and my knees are feeling all right, it might be Toxic Narcotic up in Haverhill. Otherwise, sure; the drive's as long but less intense than going to Worcester, and I like Firewind better than Sonata Arctica anyway.
Mortis Deveia [6/7]
Duuude...I don't know what's up with Henry, man. The new singer for Mortis Deveia is, like, the ugliest chick in the world. SERIOUSLY. ;P
Ok, now that we've got the required-by-law lame joke out of the way, let's have some real information about the band. Andrew presents a different feel than Caitlin did, but the sound is still thoroughly Mortis Deveia, and this was one of their better outings. This was a moment of truth, and the band rose to the occasion, showing that any previous gimmick was incidental to the core purpose of just playing awesome music, and that they remain a leading contender for the next band to break it big out of New England. They had sold out of CDs again coming in, unsurprisingly, but there were also a few songs not on the current demo, so there's likely the prospect of more MD recordings in the non-distant future, and as in the last time I saw them on a properly raised stage (the Skybar had more of a one-step riser, and I think everything else was just on the raft at the back of Mark's), they did "Raining Blood" to close. Unfortunately, it wasn't quite as good as back then, but only because the bassist snapped his E-string at the end of "The Disappearance". The bass dropping out is not, of course, necessarily fatal to a Slayer song, and they blasted it up as a two-guitar, two-vocal lineup for a bit to a great audience reaction, but in all likelihood it would have gone better if everyone's axe was still in proper working order.
In between the local and touring lineup, I went back and got some merch; no kutte parts, but I did spring for a CD from Light This City, as it definitely felt like they were the odd band out on this tour and the most in need of support, which was fortunately justified later. Their merch guy commented favorably on my Watain patch as a rare find; he, however, was wearing a Craft shirt, which is the absolute definition of kvlt (hint: if you like black metal, Terror Propaganda is killer.).
Echoes of Eternity [5/7]
Thus started the mostly progressive, mostly power-metal touring bill, which was a bit of an odd composite hooked together in an uneven chain rather than a truly solid package. Unfortunately, it's not really possible to put together an economical and strongly connected undercard for Edguy that will draw in this country. Echoes of Eternity was decent, but ultimately didn't leave a tremendous impression; the music was good, but seemed to lack impact and immediacy. I don't know if this is a personal thing or a "this is Boston, not L.A." dynamic, but it really seemed like the best thing this band had going for them was pretty much the same thing as Robin DeSanto's electoral advantage. There's nothing wrong with having attractive people in your band, but it's got to be "this band kicks ass, and the singer's hot", not "wow, the chick singing is hot, this band must rule".
Light This City [5/7]
I had a pretty good idea what to expect when I flipped over Facing The Thousand back at the merch stand and saw that they were on Prosthetic, though the name itself was a clue; a thrash band that used to be hardcore and hasn't completely accomplished the transition yet. There were still strong metalcore elements to their sound, but this was a lot more of a thrash performance; some progressive elements, but not on the whole on-topic with the rest of the tour. They fit in with Into Eternity's Headbanger's Ball mode, while Echoes of Eternity connected to IE's deeper cuts and IE's power metal split personality provided the connection to the headliner. It's like mapping hydrocarbons back in chemistry class. On topic, Light This City did a good set, better by a slice than Echoes of Eternity, and people were into them, but they probably would have been better served with a different environment in terms of staging as well as surrounding bands; Aaron mentioned that they were also allegedly playing some "off dates" on this tour with locals around the various stops, which is probably the better bet if you're not as into the rest of the headlining bill.
Into Eternity [6/7]
When this show was being booked, Bernie probably thought to himself, "wow, I've got a lineup with four bands with girl singers in a row, that's got to be a first on a normal show." Then Mortis Dev changed their lineup and he found out that Stu was a dude all along. ;P I kid, I kid.
There were a couple problems with the sound at the start, not that many of them really came through to where I was, and given that they seem to be on every time I put on the cable metal station, I'm thoroughly sick of the hits off Scattering of Ashes, but this was still a good performance, and one of the better I've seen out of them. I'm not a fan of the band, but they play some good music, and there's always something technically amazing on every set; here, Tim was basically just executing rather than stunning on guitar, but Stu was hitting some notes that even Maynard (R.I.P.) might have had a hard time with. That's just not natural, but it's friggin' killer when someone can pull it off.
I had a chance to observe Tim's hand action, which is something you get to do when you're in a small club and a music geek, and while he is fast, he's also fast because he has to be; his finger spread isn't the widest out there, and so he has to reposition a lot more to play stuff that someone with larger or more stretchable hands might be able to play without shifting their arm. His right hand, though, is where the really notable speed and accuracy comes in, much more than in the left.
Despite this obvious plug (ignore the emo first row and start from the first panel in the bottom row), I didn't see Tetraccino at this gig; maybe he hit the gig down at the Webster in Connecticut, or maybe he was in the back in the main part of the hall. I was up front in front of the bar, in the thick of a bunch of doods who were yelling for some kind of reaction from the drummer, who used to be in Beyond The Embrace, and for whom this was the homecoming gig. With this band and Despised Icon, there's the sense of the start of a troubling trend for Massachusetts metal; it's good to see musicians getting into bands with more visibility, but it's kind of embarrassing when your state is the farm system for freakin Canada. Seriously, it's a good thing that no one actually cares (and that there are a lot of Mass bands that succeed on their own), or it would be hard to live this down. ;)
Edguy [7/7]
Unfortunately, they came to the venue in a normal tourbus instead of by air, but while Tobi did cut his hair (he's thinning on top and it's a little less obvious now), he also left his zebra-print spandex pants back in Fulda, so the result was a net IMAGE UP. The music was also a step up from Wacken two years ago, partly from the longer set and partly from somewhat better conditions; I was right on top of the band instead of a hundred yards back, and nobody could get lost on here. Though they talked a good game about playing old stuff, this meant basically "playing stuff they hadn't done since the Mandrake tour"; if you have Burning Down The Opera and the two studio records they've done since that one came out, you basically have this set. Older stuff was replaced with newer material, but their deep back catalog material has remained basically the same since that time. "Save Me" from the new one has replaced "Land of the Miracle" as the requisite 'gay ballad', though in this part of the US, they probably could have made the Manowar reference that they used in Brazil (c.f. "for the wimps and posers out there...and women" on the bonus in the digibook version of Rocket Ride) and people would have gotten it. They ran through their normal crowd-participation antics, despite being in a hall of about a quarter the size needed to really sustain them, and definitely provided a good German Heavy Metal experience. They need a bigger stage, so Tobi can do his kicks-above-head-level without risking injury to anyone else in the band, and a bigger audience to play their side-vs-side games with, but I'm not sure that they can get either on this continent, as they may be a little too confident in their own heterosexuality -- and thus in their willingness to camp up the "straight band from Germany playing Gay-Metal" angle -- for the American power metal audience. We'll see, and we'll hopefully see them again, and in a more accessible venue thanks to their flouting of the ridiculous no-drinking-on-stage ordinances. Es sind hier Deutsche Musikannten! Es ist ihnen Alkohol kein Suchtgift!
On getting out, it was raining, and I steeled myself for a long, wet, and accordingly dangerous drive home. Fortunately, between exits 6 and 5 on 93, a miracle happened, and I outdrove the weather. The rest of the ride back was dry, fast, and stable, which you don't get much coming back from Mark's in the fall. It's raining now, but I'm on my couch and it doesn't matter, the show in the books.
Some words about Autumn Above from Thursday night: this was a remarkably heavy performance, though it might be expected as the band is composed mainly of people who are better known as being in several North Shore metal bands, mostly Endless Ruin. Sure, they're all-acoustic, and on CD their sound is a lot easier to interpret as more indie-rock (verging perhaps on emo due to the lyrical obsession with suicide), with nicely plucked guitar lines and close vocal harmonies, but live, up front, the impression is much different. The stop-on-a-dime riff blasts are pure metal, and if Ryan's been able to change his vocal style for this project, Chris has still definitely got his other influences (specifically, the ones that animate Cocaine Tongue) going strong. "Burn With Me", to call out a particular example, was significantly heavier, played sitting down on acoustics on Thursday night, than anything Chapter 50 did with synchronized headbanging on Friday night. As a result, this is a band that presents various sides that any rock fan can get into; the intent is still indie, but they were coming from a notably different place than the other bands at this gig, and the resulting sound is really interesting. If you know anyone who likes post-hardcore, point them at the band and tell them to spread the word; I haven't heard a whole ton of post-HC, but from what I have, listeners may find something to like, and I'm not sure that the band is going after that audience as of now.
This coming week is thick with gigs; Metal Thurday has a good lineup, MPD, Indignation, and Rohirrim provide eminent excuse to skip the drive and expense of going to Machine Head, and then it's Finntroll on Saturday. It may get expensive, but it's a fine time.
Showing posts with label troll. Show all posts
Showing posts with label troll. Show all posts
Monday, September 17, 2007
Monday, June 11, 2007
Doro Pesch with Joey Belladonna, Chris Cafferty, Meliah Rage, Steel Assassin, Candy Striper Death Orgy, and Troll [Mark's, Bedford, 6/9/2007]
This show was not only kickass, but also informative; as we can see below, doppelgangers touching does not cause either to explode, and they aren't compelled to kill each other when they come in close contact either.
Photo credit goes obviously to Rev. Aaron Pepelis; Ms. Doro Pesch (right) appears as herself, "young Doro" (left) played by Ms. Megan (Hekseri) Leo. Meg didn't get the old-school heavy metal band she's been trying to put together up and running in time to play this gig, but the show was still seriously cool.
Despite starting out a little late and the ususal concern about going north early on the weekend in the summer, I got in right around doors and was one of the first in, though not the very first, and ran across yet another shortcoming in club security, which I'm going to try and exploit next weekend if I actually end up going up for God Forbid. This may be documented later, but for now I need to keep it sealed to do the proof of concept. When I got in, Troll was soundchecking, so I had time to go poke around the merch tables and talk to Aaron for a while before the bands started rolling. By this point, I had already seen two anime accessories hanging off various people and seen the New Hampshire chapter of the KISS Army setting up a merch station, and thus was not feeling enormously optimistic about the show. Any gig where I am among the thinner and more active people, at 115 kilo or so and two bad knees, has to be evaluated critically. This was probably the first show I've seen at Mark's, even counting Metal Church where there was a lot of the same support, where the no-mosh regs probably were not an active factor in crowd control.
This implication may not be entirely fair, because when the bands did start, people did move around a little, and it's difficult to believe that "Caught In A Mosh" would not have provoked same when Joey finally got around to it in his set, as it does everywhere else they do it. For most of the bands, though, this wasn't really an issue.
Troll [4/7]
There were slack parts in their set, but there were high points as well, and if I hadn't revised the split scores across, this would have been a 4.5. However, the material that last time came off as pedestrian felt not only pedestrian but a little tired in this outing; the songs are decent, and the performance was pretty good this time as well, but there is practically nothing in their WBLM-core to make anyone actually sit up and take notice of it. Troll's music entertains en passant, but gets old desperately quick, and all the craftsmanship in the world can't hide the shortcomings in the writing. The first time that you hear Troll, they're enjoyable, and there are enough good points in their sound that they provide a cool backing track for doing other stuff if you aren't really listening to them, but if you're there paying attention because you have to pay attention (like, say, you think that other people for some reason care what you think when you write long-winded and elitist concert reports later), the most salient thing about Troll is the emphasis of just how much work, passion, and skill it takes to be even a desperately average metal band. This shit is not easy, and as such the band's dedication is obvious, but at the same time they've also managed to avoid writing anything that has any significant degree of lasting appeal.
Here I went back and got some merch, which wasn't completely out earlier; the one CD Meliah Rage had in stock and a snappy "got thrash?" shirt from CSDO. I continue to be disappointed by the lack of Steel Assassin swag; they should know by now that they're awesome and that this induces people to buy shirts and CDs; a band this good without merch available is effectively shoveling cash out of their van. The KISS Army was flyering for a demonstration in Cleveland to try to get the Rock'n'Roll Hall of Fame to induct KISS; I probably wouldn't've gone anyway, but it's on the same weekend as Wacken, and from this end of the country, if you can get to Cleveland, you can probably get to Germany, and thus anyone who goes to this has their priorities messed up. Of course, those who'd go to this are rabid KISS fans, so that kind of goes without saying, but still.... :roll:
Candy Striper Death Orgy [5/7]
More than any other band on the lineup, CSDO was negatively affected by the no-mosh regs and the power-metal crowd; when they eventually got warmed up enough to execute hard, they did a decent job, but there were quite a few confused or uninspired parts, for an overall effect significantly less impressive than when I saw them Thursday. Of course, this may also be partly due to the fact that Eric was the only member present onstage with both long and permanent standing; Cliff couldn't make it, so they had a replacement bassist, and the drummer (also in Graveheart) is a recent addition to the permanent lineup. Aaron also mentioned that he's mostly seen them with a second guitarist; this would also have helped thick up the sound, but the bigger issue is probably being the heaviest band on the bill and not quite knowing how to handle this kind of relatively non-thrash crowd.
I finally got a good look at CSDO's logo, and yes, those are candy canes crossed below the gas mask. There's definitely an argument to be made that this is the finest example of career suicide by silly name that has yet been observed; CSDO is a good band, and even if they weren't this practiced back when they were starting up, they were definitely good enough signed back when Meliah Rage originally did if they had a) not waited until 1993 to record anything and b) called themselves Obliterator or something, or seriously, any band name that didn't start with the word "candy". Names and image shouldn't matter, but CSDO's is weird enough that unless someone explains it to you or you take the time to sit back and think about it, it just makes no sense and does not really convey the sense of a band that likes Slayer and Nuclear Assault a lot.
Steel Assassin [6/7]
Another seriously impressive set from Steel Assassin, very successfully evoking late-80s Iron Maiden (a definitely underappreciated chapter of the band's history), but it wasn't quite as inspiring and absolutely awesome as the last time I saw them. Oddly enough, though, I was standing in exactly the same place but managed to hear pretty much all of their sound, and didn't get my knees broke by the bass pulse; I noticed this from several other locations around the main stage (the only one open this time) and definitely got the impression that the sound setup has been improved either in hardware or tuning, because the acoustic shadows are pretty much gone; no idea whether this is permanent or an artifact of not having the second stage open to potentially pull equipment out.
Meliah Rage [6/7]
While they didn't really have the same fire to them that they had when they played with Metal Church here -- overall a much more energetic night than this one, which might have contributed -- this was still a really good set that got better as it progressed. They played a little more new stuff and if I recall correctly, previewed some stuff that's going to be on their forthcoming disc, but there was also the sense that their set was shorter than expected. Theirs was a good performance, but they were also the last band to not mention that they had to cut parts out of their set.
Yes, that's right. All three of the headliners had to make some cuts to their sets, despite the fact that the show was still running on time. The problem is partly that there were four local openers and no second stage to put them on to reduce latency, and partly a natural consequence of pay-to-play policies: the locals are putting money into the club, but the nationals are taking money out, once the performance has been simplified to this kind of abstraction. What's odder is that this kind of show will support itself without pay-to-play (and may have, actually; almost all of the locals are high-profile enough that they should have gotten paid rather than selling), as it's getting people outside the normal scene who will buy their ticket at the music store rather than hunting up a band member. Whatever the reason for it, there's no excuse for cutting the sets of the touring bands, who most of the audience came to see, rather than just cutting one of the locals off the bill. On a touring show like this one, the local openers are there basically at the sufferance of the tour; if they don't like this implication, they should book gigs without a tour where they can be the focus. The only positive out of this is that hopefully tour management concerns will hear about this and book through places besides Mark's where they won't get cuts.
Chris Cafferty [5/7]
Chris came out wearing W:O:A gear ('02 artist edition), and played a cool but fairly short set of mostly original material, with the only exception being "Edge of Thorns". This was in contrast to Belladonna, who followed him, but unfortunately he also spent a lot of time talking about how his set was getting chopped. It was cool to see him on a stage this small, demonstrating a lot of sophistication as well as pure technical chops, but the mix of songs that survived the cuts didn't really hang together as a whole or present an optimal picture of him as either a guitarist or a solo artist. This was a decent set, but you definitely got the feeling that it could have been much better if he had been allowed to go on for the full scheduled set.
Joey Belladonna [6/7]
Wisely, Joey refrained from the state-fair connotations of running this lineup out as "Joey Belladonna's Tribute to Anthrax", but this didn't change the fact that most of the material in this set was from Joey's time with Scott, Charlie, Danny, and Frank. It's what people want to hear, though, and the performance was really good on all the covers -- including "Antisocial" which was double-covered in that they played it down basically in exact replica of the way it's done on State of Euphoria. The floor got a little turbulent during "Caught In A Mosh", but no full-scale pits broke out, which was really a shame. In normal circumstances, it's not possible to play this song without inducing a circle pit, which may say more about the crowd than the venue. All in all, this was a kickass set, and if Joey isn't quite being Bruce Dickinson as regards originality, he's definitely also not being Paul DiAnno.
Between Joey and Doro's sets, I got noticed by some other scene doods who I hadn't run into before, and had to do the full turn-around thing to show off my jacket. Upon completion, I was pronounced "nearly as cool as Batman", which is allegedly quite an accomplishment. (Shortpacked! jokes not implied in original conversation.)
Doro [7/7]
Despite the few cuts that had to be made, this was still just as cool and anthemic a set as might possibly be desired, with the reigning Metal Queen transforming a bar in New Hampshire into probably the world's smallest festival infield. The performance covered basically all of Doro's career, from a couple cuts off the first Warlock album right up to several tunes from the new one, including at least one song that's never been officially released in the US, and the performance was of uniformly high quality...though it probably helped in this regard that Chris Cafferty, who was playing lead guitar for this tour, was still fresh due to only playing like half his set. The performance was really awesome and the crowd response was impressive as well; though the other touring bands had gotten a decent rise out of the crowd, this was at a different level that made you almost forget that this was about the lowest turnout that I've seen at this place, or that this was, in the last analysis, a bar in New Hampshire. This is the hallmark of real professionalism, and the result was just a stellar set, as thoroughly expected. Despite a lot of ranting and cheering from the audience, there was no encore, and people made their way out the exits. Good show, good night.
Of course, the salient point for the Boston scene is that Megan and Doro didn't try to kill each other. This either proves that clones don't do that, or that they aren't clones in the first place, though the first is a lot more likely, because there was definitely a moment early in her set where Doro came to the side of the stage where Megan was for the first time of the night, and visibly pulled up, as though wondering where whoever got the time mirror out of, and why they set it up in a hall like this one. You can't really tell in the picture up above, but they are within millimeters of the same height as well as exactly the same build, and the facial resemblance is straight dead on. It is a singularity and a deep wonder of our universe, but one that nobody will care about because both women are metal musicians rather than characters in a sci-fi novel, and have other gigs to do.
I wasn't feeling well enough to go down to see Discreate et al Sunday night (overwork + three straight days of drinking + messed-up sleep hours + beat-up throat from seeing a show in NH), so the next show is either going to be God Forbid back up at Mark's on Saturday, or Zircon and The Accursed on Sunday if my brother ends up going to Germany and has his sendoff party Saturday night.
Photo credit goes obviously to Rev. Aaron Pepelis; Ms. Doro Pesch (right) appears as herself, "young Doro" (left) played by Ms. Megan (Hekseri) Leo. Meg didn't get the old-school heavy metal band she's been trying to put together up and running in time to play this gig, but the show was still seriously cool.
Despite starting out a little late and the ususal concern about going north early on the weekend in the summer, I got in right around doors and was one of the first in, though not the very first, and ran across yet another shortcoming in club security, which I'm going to try and exploit next weekend if I actually end up going up for God Forbid. This may be documented later, but for now I need to keep it sealed to do the proof of concept. When I got in, Troll was soundchecking, so I had time to go poke around the merch tables and talk to Aaron for a while before the bands started rolling. By this point, I had already seen two anime accessories hanging off various people and seen the New Hampshire chapter of the KISS Army setting up a merch station, and thus was not feeling enormously optimistic about the show. Any gig where I am among the thinner and more active people, at 115 kilo or so and two bad knees, has to be evaluated critically. This was probably the first show I've seen at Mark's, even counting Metal Church where there was a lot of the same support, where the no-mosh regs probably were not an active factor in crowd control.
This implication may not be entirely fair, because when the bands did start, people did move around a little, and it's difficult to believe that "Caught In A Mosh" would not have provoked same when Joey finally got around to it in his set, as it does everywhere else they do it. For most of the bands, though, this wasn't really an issue.
Troll [4/7]
There were slack parts in their set, but there were high points as well, and if I hadn't revised the split scores across, this would have been a 4.5. However, the material that last time came off as pedestrian felt not only pedestrian but a little tired in this outing; the songs are decent, and the performance was pretty good this time as well, but there is practically nothing in their WBLM-core to make anyone actually sit up and take notice of it. Troll's music entertains en passant, but gets old desperately quick, and all the craftsmanship in the world can't hide the shortcomings in the writing. The first time that you hear Troll, they're enjoyable, and there are enough good points in their sound that they provide a cool backing track for doing other stuff if you aren't really listening to them, but if you're there paying attention because you have to pay attention (like, say, you think that other people for some reason care what you think when you write long-winded and elitist concert reports later), the most salient thing about Troll is the emphasis of just how much work, passion, and skill it takes to be even a desperately average metal band. This shit is not easy, and as such the band's dedication is obvious, but at the same time they've also managed to avoid writing anything that has any significant degree of lasting appeal.
Here I went back and got some merch, which wasn't completely out earlier; the one CD Meliah Rage had in stock and a snappy "got thrash?" shirt from CSDO. I continue to be disappointed by the lack of Steel Assassin swag; they should know by now that they're awesome and that this induces people to buy shirts and CDs; a band this good without merch available is effectively shoveling cash out of their van. The KISS Army was flyering for a demonstration in Cleveland to try to get the Rock'n'Roll Hall of Fame to induct KISS; I probably wouldn't've gone anyway, but it's on the same weekend as Wacken, and from this end of the country, if you can get to Cleveland, you can probably get to Germany, and thus anyone who goes to this has their priorities messed up. Of course, those who'd go to this are rabid KISS fans, so that kind of goes without saying, but still.... :roll:
Candy Striper Death Orgy [5/7]
More than any other band on the lineup, CSDO was negatively affected by the no-mosh regs and the power-metal crowd; when they eventually got warmed up enough to execute hard, they did a decent job, but there were quite a few confused or uninspired parts, for an overall effect significantly less impressive than when I saw them Thursday. Of course, this may also be partly due to the fact that Eric was the only member present onstage with both long and permanent standing; Cliff couldn't make it, so they had a replacement bassist, and the drummer (also in Graveheart) is a recent addition to the permanent lineup. Aaron also mentioned that he's mostly seen them with a second guitarist; this would also have helped thick up the sound, but the bigger issue is probably being the heaviest band on the bill and not quite knowing how to handle this kind of relatively non-thrash crowd.
I finally got a good look at CSDO's logo, and yes, those are candy canes crossed below the gas mask. There's definitely an argument to be made that this is the finest example of career suicide by silly name that has yet been observed; CSDO is a good band, and even if they weren't this practiced back when they were starting up, they were definitely good enough signed back when Meliah Rage originally did if they had a) not waited until 1993 to record anything and b) called themselves Obliterator or something, or seriously, any band name that didn't start with the word "candy". Names and image shouldn't matter, but CSDO's is weird enough that unless someone explains it to you or you take the time to sit back and think about it, it just makes no sense and does not really convey the sense of a band that likes Slayer and Nuclear Assault a lot.
Steel Assassin [6/7]
Another seriously impressive set from Steel Assassin, very successfully evoking late-80s Iron Maiden (a definitely underappreciated chapter of the band's history), but it wasn't quite as inspiring and absolutely awesome as the last time I saw them. Oddly enough, though, I was standing in exactly the same place but managed to hear pretty much all of their sound, and didn't get my knees broke by the bass pulse; I noticed this from several other locations around the main stage (the only one open this time) and definitely got the impression that the sound setup has been improved either in hardware or tuning, because the acoustic shadows are pretty much gone; no idea whether this is permanent or an artifact of not having the second stage open to potentially pull equipment out.
Meliah Rage [6/7]
While they didn't really have the same fire to them that they had when they played with Metal Church here -- overall a much more energetic night than this one, which might have contributed -- this was still a really good set that got better as it progressed. They played a little more new stuff and if I recall correctly, previewed some stuff that's going to be on their forthcoming disc, but there was also the sense that their set was shorter than expected. Theirs was a good performance, but they were also the last band to not mention that they had to cut parts out of their set.
Yes, that's right. All three of the headliners had to make some cuts to their sets, despite the fact that the show was still running on time. The problem is partly that there were four local openers and no second stage to put them on to reduce latency, and partly a natural consequence of pay-to-play policies: the locals are putting money into the club, but the nationals are taking money out, once the performance has been simplified to this kind of abstraction. What's odder is that this kind of show will support itself without pay-to-play (and may have, actually; almost all of the locals are high-profile enough that they should have gotten paid rather than selling), as it's getting people outside the normal scene who will buy their ticket at the music store rather than hunting up a band member. Whatever the reason for it, there's no excuse for cutting the sets of the touring bands, who most of the audience came to see, rather than just cutting one of the locals off the bill. On a touring show like this one, the local openers are there basically at the sufferance of the tour; if they don't like this implication, they should book gigs without a tour where they can be the focus. The only positive out of this is that hopefully tour management concerns will hear about this and book through places besides Mark's where they won't get cuts.
Chris Cafferty [5/7]
Chris came out wearing W:O:A gear ('02 artist edition), and played a cool but fairly short set of mostly original material, with the only exception being "Edge of Thorns". This was in contrast to Belladonna, who followed him, but unfortunately he also spent a lot of time talking about how his set was getting chopped. It was cool to see him on a stage this small, demonstrating a lot of sophistication as well as pure technical chops, but the mix of songs that survived the cuts didn't really hang together as a whole or present an optimal picture of him as either a guitarist or a solo artist. This was a decent set, but you definitely got the feeling that it could have been much better if he had been allowed to go on for the full scheduled set.
Joey Belladonna [6/7]
Wisely, Joey refrained from the state-fair connotations of running this lineup out as "Joey Belladonna's Tribute to Anthrax", but this didn't change the fact that most of the material in this set was from Joey's time with Scott, Charlie, Danny, and Frank. It's what people want to hear, though, and the performance was really good on all the covers -- including "Antisocial" which was double-covered in that they played it down basically in exact replica of the way it's done on State of Euphoria. The floor got a little turbulent during "Caught In A Mosh", but no full-scale pits broke out, which was really a shame. In normal circumstances, it's not possible to play this song without inducing a circle pit, which may say more about the crowd than the venue. All in all, this was a kickass set, and if Joey isn't quite being Bruce Dickinson as regards originality, he's definitely also not being Paul DiAnno.
Between Joey and Doro's sets, I got noticed by some other scene doods who I hadn't run into before, and had to do the full turn-around thing to show off my jacket. Upon completion, I was pronounced "nearly as cool as Batman", which is allegedly quite an accomplishment. (Shortpacked! jokes not implied in original conversation.)
Doro [7/7]
Despite the few cuts that had to be made, this was still just as cool and anthemic a set as might possibly be desired, with the reigning Metal Queen transforming a bar in New Hampshire into probably the world's smallest festival infield. The performance covered basically all of Doro's career, from a couple cuts off the first Warlock album right up to several tunes from the new one, including at least one song that's never been officially released in the US, and the performance was of uniformly high quality...though it probably helped in this regard that Chris Cafferty, who was playing lead guitar for this tour, was still fresh due to only playing like half his set. The performance was really awesome and the crowd response was impressive as well; though the other touring bands had gotten a decent rise out of the crowd, this was at a different level that made you almost forget that this was about the lowest turnout that I've seen at this place, or that this was, in the last analysis, a bar in New Hampshire. This is the hallmark of real professionalism, and the result was just a stellar set, as thoroughly expected. Despite a lot of ranting and cheering from the audience, there was no encore, and people made their way out the exits. Good show, good night.
Of course, the salient point for the Boston scene is that Megan and Doro didn't try to kill each other. This either proves that clones don't do that, or that they aren't clones in the first place, though the first is a lot more likely, because there was definitely a moment early in her set where Doro came to the side of the stage where Megan was for the first time of the night, and visibly pulled up, as though wondering where whoever got the time mirror out of, and why they set it up in a hall like this one. You can't really tell in the picture up above, but they are within millimeters of the same height as well as exactly the same build, and the facial resemblance is straight dead on. It is a singularity and a deep wonder of our universe, but one that nobody will care about because both women are metal musicians rather than characters in a sci-fi novel, and have other gigs to do.
I wasn't feeling well enough to go down to see Discreate et al Sunday night (overwork + three straight days of drinking + messed-up sleep hours + beat-up throat from seeing a show in NH), so the next show is either going to be God Forbid back up at Mark's on Saturday, or Zircon and The Accursed on Sunday if my brother ends up going to Germany and has his sendoff party Saturday night.
Tuesday, January 30, 2007
Metal Church with Meliah Rage, Steel Assassin, Ravage, Red Right Hand, La Strega, Troll, and Legion of the Dying [Mark's, Bedford, 1/27/2007]
I got rolling a little later than anticipated, but still arrived with plenty of time, actually a couple minutes before doors. It's probably just that the back roads component winds around, and the part on 93 is such a huge pain in the ass, that it makes the drive feel longer than it is. On the way in, I got a ticket off Legion of the Dying; I already had one, but as discussed previously, getting tickets to a P2P show without going through the bands is like stabbing them in the back. There are equitable ways to do pay to play (maybe discussed in a later post), but requiring a band to front $400 to play at 6 PM to barely more people on the floor than on the stage is not one of them.
This settled, I got inside, got a beer, and started fielding questions and comments about my jacket almost immediately. This would be an ongoing theme of the night; there were a couple other guys in kuttes there, but mine as especially ridiculous seemed to draw consistent attention. I talked with the vocalist of La Strega initially -- he had a similar rig but out'grew' it -- and then one of Ravage's hangers-on later, before La Strega, who had a leather vest that patches kept falling off of. Folks, there are tailoring solutions to both these problems. If you get too rotund for your kutte, cut the seams out on the sides and shoulders, sew in a 3- or 4-inch spacer section of denim in all areas, then cover the spacing up with more patches so it looks more natural. And if you've got a leather vest, there are these things called leather needles that are sharp and strong enough to go through it. There's no way my jacket could survive the heavy use and abuse it gets if the patches were ironed rather than sewn on.
Enough with the metal homemaking tips already. On to the bands.
Legion of the Dying [4.5/7]
I was really going back and forth on this band, and ended up going with a split score, which I hate having to resort to. However, it turned out to be both necessary and accurate, because there are a fair number of hairs to be split on the first half of the bill. These guys did a decent job despite the fact that the audience never got up to even double the number of people on stage, working an odd but decent mix of power and black metal that probably doesn't owe as much to Bifrost as it sounded to me. It was a pretty good performance, though there's room for improvement in some of the material, and there's definitely a reason that this band was opening up this show rather than playing later. The other five metalheads who saw this set were probably equally entertained, but those who came in later did not miss much, either from this band or much of the first half of the bill.
Troll [4/7]
It probably goes without saying that this is not the Norwegian black metal Troll, but a hard rock combo of the same name from New England. Their set was better than might have been anticipated; the drummer did use all of his forest of cymbals, and though any number of very negative things might have been said about the band based on their average age, none of them would actually have been true. The music was strongly hard-rock based, the kind of attack that the guys at BNR usually call just "'80s metal", and mostly well-performed. In spots I got the impression that I was watching My Pet Demon through a window into fifteen years in the future; I'm sure that the band won't be crazy about hearing this as if they're going to be stuck playing mediocre bar shows forever and not really getting any traction, but the reasons are more positive: a band resolutely swimming against the current, playing the kind of music that drives them, no matter what the trends are. For this reason I really have to respect this band, even though I'm not crazy about their music, and a lot of the local bands on this bill that had several older members, for sticking it out, playing metal, and continuing to put up with the bullshit of underground gigging and promotion despite moving forward in their lives.
La Strega [4.5/7]
I picked both a good and a bad spot to see this band from. On the positive side, I got right up on the rail to get an earful of their guitar. On the negative side, the guitarist was playing through at least a full stack, maybe a double stack, and I could barely hear anything else, and the vocals more or less not at all. The performance was pretty good, built mainly on classic melodic metal, but there were warts on it as well. The guitarist definitely has chops, but I'm not nearly as sold on his musical sense; no matter how kickass a solo is technically, and there were some really good ones in their set, it'll still sound bad if it's not in the same key that the rest of the band is playing in. Even though this was defined by only a bassist last night, it still bears remembering.
Red Right Hand [5/7]
I was having trouble placing these guys until I talked with this other dude at the bar; he commented that they sounded a lot like Exodus, and the light immediately went on. Thet did sound a hell of a lot like Exodus, putting a little more melodics into an aggressive thrash sound and topping it off with a singer spitting vitriol. They were the only band to play a cover on this bill -- how "Highway Star" dropped out of Metal Church's set is a tale told later -- and they did ample justice in ripping through Slayer's "Black Magic". You don't see too many bands reaching back to do stuff off Show No Mercy at the local level, even a cut as well-known as this one. All in all it was a pretty killer set; I scored a CD off them as well, and in this case it was direct support of the band, not, as with the two Troll discs I got, because the other bands didn't have their fucking merch setups out. I'm looking at you, Steel Assassin and Ravage; when you kick ass on stage, make sure you've got some dood in the back with the box of CDs so you can take money from the people you just pumped up.
Ravage [6/7]
This was as good a set as I've seen from Ravage in a long time; Al seemed really on, and the sound guys had his vocals dialed in perfectly, which has not been the case in the recent past. Of course, the last time I saw Ravage was at a disco in Saugus, so there's definitely an explanation here. They did all new material -- off their two albums, no Curse of Heaven stuff -- and all of it sounded great. They did have a banner of the Spectral Rider guy, but it was draped over the front monitors rather than hung in the back (as it probably was on their Euro dates). This is probably just as well, because Steel Assassin had some problems with their banner, which are kind of to be expected when you're tying it to the ceiling rather than to a truss. The guy they got to fill in of Howie (who recently quit) on bass did a competent job, but stayed mostly at the back, probably indicating that he's just filling in on a temporary bassist, and the Ravage bassist search will continue.
Steel Assassin [6/7]
Several people commented that of the undercard, these guys stole the show. I don't necessarily agree with that -- the last three supporting acts were largely even, maybe incremental steps in advancing order, in my view -- but I can definitely see where that assessment would come from. They did a strong set of Maiden-inspired power/thrash metal, and really got the crowd churning up. Again, my position may have cost me some of the impact -- I was up front, but leaning on the stage left bass tubes -- but I was still seriously impressed, and hope to catch this band sometime else when they have merch.
Meliah Rage [6/7]
Finally, the touring bands came up, and the impact showed it to be worth the wait, even for those somewhat mental people who didn't enjoy a very good lineup of local openers. Meliah Rage played with a fire and intensity that seemed deliberately intended to belie certain assertions made about them being D-level generic thrash and unable to gain traction. The music itself was fairly typical, built heavily around ideas originally explored by Metallica, but the performance more than made up for the relative lack of originality in composition; there is nothing wrong with doing stuff that others have done before, as long as you kick ass at it and put on a good show, which was absolutely the case here. They played a good mix of old and new material, and always with a fanatic energy; the singer stagedived three times, and fortunately all three times was caught and returned. This is by no means a sure thing, as he's kind of a big dude, and Mark's has a no-mosh policy, so the first leap may have caught a few people by surprise. It was an awesome performance, but if it ran late (I wasn't watching the clocks), it might come out as a negative....for reasons to be documented a little further on.
Metal Church [7/7]
This is not solely a psycho fanboy reaction to finally hearing Blessing In Disguise stuff live. The key word in that one is 'solely'; hearing this lineup do "Fake Healer" is definitely one of the highlights of my year so far and will probably continue to be even after we get out of January. I don't know whether it's audience- or copyrights-driven, but this set, unlike their performances at Wacken, this set covered the band's whole career, though weighted early, if only because there's just so much awesome material on Metal Church and The Dark. They brought out a couple dancers from the strip club part of the building for "Fake Healer", and while there were a few dollars thrown on stage, I probably wouldn't've noticed even if they had, at any point, taken any of their (minimal) clothes off. Save the chicks for some other number if you want people to look at them, this is FAKE FUCKING HEALER! This set was debatably better than when I saw them on the Party Stage, but was unfortunately cut short before the encore -- "Highway Star" as mentioned earlier -- due to club curfew. The astonishing lameness of this is difficult to comprehend, but this of course isn't the band's fault; the problem lies with the club, and indirectly with the promoter for booking them here...and then via multiple indirection, with whoever booked their tour through New England Concerts rather than trying to get them into Boston. It was still an awesome set even without the encore -- and really, there would probably have been no complaints had they just gone on for another half hour, even with the snow and the condition of the roads outside.
I've now recovered all my hearing damage, and have the newly purchased Metal Church pin affixed to my jacket; next show's probably out in Worcester, Metal Thursday starting off Metal Winter Break, which has gotten a little more potential fill. I probably won't go up to Mark's again to pay Diecast to see Mortis Dev and Frozen on Friday, but I'm mulling over trying to get into this party Mark Fields of You're Fired is throwing Saturday. On the plus side, metal + party. On the minus side, I'm not sure that I could even survive partying out with Anal Cunt and assorted dudes, and it'd be a fucking shame to miss the rest of Metal Winter Break due to being dead or in jail or in the hospital or something. We'll see how this shakes out.
This settled, I got inside, got a beer, and started fielding questions and comments about my jacket almost immediately. This would be an ongoing theme of the night; there were a couple other guys in kuttes there, but mine as especially ridiculous seemed to draw consistent attention. I talked with the vocalist of La Strega initially -- he had a similar rig but out'grew' it -- and then one of Ravage's hangers-on later, before La Strega, who had a leather vest that patches kept falling off of. Folks, there are tailoring solutions to both these problems. If you get too rotund for your kutte, cut the seams out on the sides and shoulders, sew in a 3- or 4-inch spacer section of denim in all areas, then cover the spacing up with more patches so it looks more natural. And if you've got a leather vest, there are these things called leather needles that are sharp and strong enough to go through it. There's no way my jacket could survive the heavy use and abuse it gets if the patches were ironed rather than sewn on.
Enough with the metal homemaking tips already. On to the bands.
Legion of the Dying [4.5/7]
I was really going back and forth on this band, and ended up going with a split score, which I hate having to resort to. However, it turned out to be both necessary and accurate, because there are a fair number of hairs to be split on the first half of the bill. These guys did a decent job despite the fact that the audience never got up to even double the number of people on stage, working an odd but decent mix of power and black metal that probably doesn't owe as much to Bifrost as it sounded to me. It was a pretty good performance, though there's room for improvement in some of the material, and there's definitely a reason that this band was opening up this show rather than playing later. The other five metalheads who saw this set were probably equally entertained, but those who came in later did not miss much, either from this band or much of the first half of the bill.
Troll [4/7]
It probably goes without saying that this is not the Norwegian black metal Troll, but a hard rock combo of the same name from New England. Their set was better than might have been anticipated; the drummer did use all of his forest of cymbals, and though any number of very negative things might have been said about the band based on their average age, none of them would actually have been true. The music was strongly hard-rock based, the kind of attack that the guys at BNR usually call just "'80s metal", and mostly well-performed. In spots I got the impression that I was watching My Pet Demon through a window into fifteen years in the future; I'm sure that the band won't be crazy about hearing this as if they're going to be stuck playing mediocre bar shows forever and not really getting any traction, but the reasons are more positive: a band resolutely swimming against the current, playing the kind of music that drives them, no matter what the trends are. For this reason I really have to respect this band, even though I'm not crazy about their music, and a lot of the local bands on this bill that had several older members, for sticking it out, playing metal, and continuing to put up with the bullshit of underground gigging and promotion despite moving forward in their lives.
La Strega [4.5/7]
I picked both a good and a bad spot to see this band from. On the positive side, I got right up on the rail to get an earful of their guitar. On the negative side, the guitarist was playing through at least a full stack, maybe a double stack, and I could barely hear anything else, and the vocals more or less not at all. The performance was pretty good, built mainly on classic melodic metal, but there were warts on it as well. The guitarist definitely has chops, but I'm not nearly as sold on his musical sense; no matter how kickass a solo is technically, and there were some really good ones in their set, it'll still sound bad if it's not in the same key that the rest of the band is playing in. Even though this was defined by only a bassist last night, it still bears remembering.
Red Right Hand [5/7]
I was having trouble placing these guys until I talked with this other dude at the bar; he commented that they sounded a lot like Exodus, and the light immediately went on. Thet did sound a hell of a lot like Exodus, putting a little more melodics into an aggressive thrash sound and topping it off with a singer spitting vitriol. They were the only band to play a cover on this bill -- how "Highway Star" dropped out of Metal Church's set is a tale told later -- and they did ample justice in ripping through Slayer's "Black Magic". You don't see too many bands reaching back to do stuff off Show No Mercy at the local level, even a cut as well-known as this one. All in all it was a pretty killer set; I scored a CD off them as well, and in this case it was direct support of the band, not, as with the two Troll discs I got, because the other bands didn't have their fucking merch setups out. I'm looking at you, Steel Assassin and Ravage; when you kick ass on stage, make sure you've got some dood in the back with the box of CDs so you can take money from the people you just pumped up.
Ravage [6/7]
This was as good a set as I've seen from Ravage in a long time; Al seemed really on, and the sound guys had his vocals dialed in perfectly, which has not been the case in the recent past. Of course, the last time I saw Ravage was at a disco in Saugus, so there's definitely an explanation here. They did all new material -- off their two albums, no Curse of Heaven stuff -- and all of it sounded great. They did have a banner of the Spectral Rider guy, but it was draped over the front monitors rather than hung in the back (as it probably was on their Euro dates). This is probably just as well, because Steel Assassin had some problems with their banner, which are kind of to be expected when you're tying it to the ceiling rather than to a truss. The guy they got to fill in of Howie (who recently quit) on bass did a competent job, but stayed mostly at the back, probably indicating that he's just filling in on a temporary bassist, and the Ravage bassist search will continue.
Steel Assassin [6/7]
Several people commented that of the undercard, these guys stole the show. I don't necessarily agree with that -- the last three supporting acts were largely even, maybe incremental steps in advancing order, in my view -- but I can definitely see where that assessment would come from. They did a strong set of Maiden-inspired power/thrash metal, and really got the crowd churning up. Again, my position may have cost me some of the impact -- I was up front, but leaning on the stage left bass tubes -- but I was still seriously impressed, and hope to catch this band sometime else when they have merch.
Meliah Rage [6/7]
Finally, the touring bands came up, and the impact showed it to be worth the wait, even for those somewhat mental people who didn't enjoy a very good lineup of local openers. Meliah Rage played with a fire and intensity that seemed deliberately intended to belie certain assertions made about them being D-level generic thrash and unable to gain traction. The music itself was fairly typical, built heavily around ideas originally explored by Metallica, but the performance more than made up for the relative lack of originality in composition; there is nothing wrong with doing stuff that others have done before, as long as you kick ass at it and put on a good show, which was absolutely the case here. They played a good mix of old and new material, and always with a fanatic energy; the singer stagedived three times, and fortunately all three times was caught and returned. This is by no means a sure thing, as he's kind of a big dude, and Mark's has a no-mosh policy, so the first leap may have caught a few people by surprise. It was an awesome performance, but if it ran late (I wasn't watching the clocks), it might come out as a negative....for reasons to be documented a little further on.
Metal Church [7/7]
This is not solely a psycho fanboy reaction to finally hearing Blessing In Disguise stuff live. The key word in that one is 'solely'; hearing this lineup do "Fake Healer" is definitely one of the highlights of my year so far and will probably continue to be even after we get out of January. I don't know whether it's audience- or copyrights-driven, but this set, unlike their performances at Wacken, this set covered the band's whole career, though weighted early, if only because there's just so much awesome material on Metal Church and The Dark. They brought out a couple dancers from the strip club part of the building for "Fake Healer", and while there were a few dollars thrown on stage, I probably wouldn't've noticed even if they had, at any point, taken any of their (minimal) clothes off. Save the chicks for some other number if you want people to look at them, this is FAKE FUCKING HEALER! This set was debatably better than when I saw them on the Party Stage, but was unfortunately cut short before the encore -- "Highway Star" as mentioned earlier -- due to club curfew. The astonishing lameness of this is difficult to comprehend, but this of course isn't the band's fault; the problem lies with the club, and indirectly with the promoter for booking them here...and then via multiple indirection, with whoever booked their tour through New England Concerts rather than trying to get them into Boston. It was still an awesome set even without the encore -- and really, there would probably have been no complaints had they just gone on for another half hour, even with the snow and the condition of the roads outside.
I've now recovered all my hearing damage, and have the newly purchased Metal Church pin affixed to my jacket; next show's probably out in Worcester, Metal Thursday starting off Metal Winter Break, which has gotten a little more potential fill. I probably won't go up to Mark's again to pay Diecast to see Mortis Dev and Frozen on Friday, but I'm mulling over trying to get into this party Mark Fields of You're Fired is throwing Saturday. On the plus side, metal + party. On the minus side, I'm not sure that I could even survive partying out with Anal Cunt and assorted dudes, and it'd be a fucking shame to miss the rest of Metal Winter Break due to being dead or in jail or in the hospital or something. We'll see how this shakes out.
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