Day three put the HARD in New England Metal & Hardcore festival this year. This was the No Sissies Allowed day. Observe.
Opening ceremonies were conducted by Seattle’s TO THE WIND, and they put on a good show, however unremarkable. Nothing bad to say, though I haven’t any accolades to shower upon them. After them, a whole big space of my doing nothing but bothering people and flexing my superb awkward swagger until THE GREENERY, a Long Beach skate crew whose singer has a bone to pick with the concept of stages, because separating yourself from the crowd is not punk.
The Greenery’s new album “It’s Looking Grim” drops in June.
Too fast, too furious, and it’ll make you wanna act a fool. The Greenery play a mix of Thrash, Hardcore, and straight up balls-out Punk that has the speed of CEREBRAL BALLZY, the rousing hardness of “Rotting Out”, and the obsession with boarding that connects the two. I certainly wouldn’t mind catching them again. One fun thing I learned from this set was that I may or may not have found the singer’s MOTORHEAD hat, which apparently went missing and was so painful of a loss that he dedicated a song to it. I invoke finder’s keepers law and am justified in my acquiring of this killer headgear.
I heard a bit of racket being made downstairs by Australia’s BEYOND THE SHORE, and went down to see what was up. Apparently the once passable I KILLED THE PROM QUEEN impersonators have taken a turn for the worse and don’t even bother trying to sound remotely interesting. That and a crowd of 20 people not throwing down to the chugs was enough to make you flaccid. Taking the stage after them were WAKING THE DEAD, a passable Crossover Thrash act, but nothing that made me rethink all of my once held notions of how it should sound.
WAKING THE DEAD is led by MIKE CLARK (ex- ST/NO MERCY)
Heading back upstairs, I intended to see what all the fuss surrounding WARHOUND was about. Seamlessly melding Hip-Hop and Hardcore can be done, and has been done. Just look to bands like CANDIRIA for an example of how to do it tastefully and with a steaze indefatigable. Warhound on the other hand, while not necessarily bad at what they do, take the more thuggish extreme of hip-hop, and not exactly the “Wu-Tang ain’t nuttin’ ta fuck wit” type, either. It’s certainly heavy and has that bounce, but the attitude is more funny than anything, even though you can tell they come from the mean streets of Chi-town and are un-ironic in what they’re talking about. For fans of DEEZ NUTS? (Editor’s note: Deez Nuts has fans?)
Following the hardest ever were TURNSTILE, who are also respectably hard, despite their name being a random object. I guess they like trains. They sure know how to get a crowd going, and even got some glorious pile-on action, which is a sign that the kids dig it. Following that was THICK AS BLOOD. By now you’ve probably realised I spent the majority of my day upstairs. It was more fun there, is all. Florida’s not a happy place. Just look at all the Death Metal bands that have come from there, as well as these hatemongers that got some fools crowdkilling early on. Music is passion, it’s true. I got a fist to the eye just for being in the wrong place at the wrong time, but I gotta say, it wasn’t as bad as I thought it’d be. That set the tone for a fun set, oddly enough, even if Turnstile had a bigger draw, resulting in an oddly vacant floor in comparison. I got down. Local boys SWORN IN came on next and played a lot of heavy stuff, which makes sense since they have yet to write anything that isn’t. My seeing these guys was a long time coming, and I’m glad I finally got to. In a more packed setting, I imagine it would be far more satisfying, though their heaviness that errs on the side of a djent feel and the eternal wellsprings of anger held by their vocalist is massive enough when there’s room to practice your spinkicks.
I decided against my better instincts to go peek at THE PLOT IN YOU(terus). Generic trash, throw it away. I stand a greater chance of getting a nosebleed drinking a glass of water at home than I do standing in a The Plot In You pit. Luckily Remembering Never, though I’d not previously heard them, obliterated the thoughts of that horrible experience from my mind with their OG Metalcore swag. Having gone on a hiatus some years back, apparently it’s quite exciting that they’re doing things once more, and having seen them in action, I can say for sure that they’re a much needed breath of fresh air in a world where Metalcore means anyone suffering through a break-up. Clean sections sparingly used between punishing breakdowns, circle-pit parts that didn’t sound forced, and of course, the abundance of quotable lines that give the audience cause to shout along with all of their might. It’s inspiring, I say. For fans of Ligeia who are sad that they’re dead and drunk.
Most of the early day on Day 3 was deathy hardcore bands and deathcore bands like I DECLARE WAR.
Speaking of hiatuses (hiatii?) TRAPPED UNDER ICE made the announcement that they would be going on one in August of this year. I, not being a fan, am not taking the news too hard, but their legions of loyal pit warriors made this one count, with mic-rushes galore and rugged pit antics for those truly unafraid to emerged bruised in the name of Hardcore. TUI til they die. I’m sure they’ll be missed, but they’ll be back, and probably to more intense crowds than before. Whether or not they’re Metallica fans is a question we’ll have to wait to see answered definitively at another time.
SICK OF IT ALL sold a special tribute shirt to NEMHCF co-founder Scott Lee.
Thus concludes the upstairs portion of this programme.
After getting a little poster signed by SUICIDAL TENDENCIES (fo’ free, bless their hearts), it was time to witness some endless circles made by our favourite speed metal drunks in D.R.I.
Hey Harold…I’m pretty sure Van Gogh wants his ear back, man.
How much can one really say about D.R.I. that doesn’t just boil down to “Ahh it was fast and people were running around!”? Because that’s basically what it is: an explosion of pure Crossover enjoyment that not even some fool wearing stripes and acting a fool (the wrong way, mind you) can ruin. They didn’t invent the circlepit (I think), nor did they invent the skanking run (or did they?), but since both are so synonymous with them, it was of course what one may expect to be the main flavour on this mosh smorgasbord.
LOU from SICK OF IT ALL….. still undisputed!
New York’s finest in SICK OF IT ALL are the ones that I personally attribute a lot of the modern day tuff guy hardcore to, but by Jove they’re fantastic. Old boy Lou hasn’t aged a day in their 28 years as a band, it’s incredible. Looking and sounding just as fresh as on record, the band delivered prime cuts like “Just Look Around” and “Step Down” like it wasn’t no thang. Sick Of It All was the rallying cry for all of the dads in the building, as the bald and aged among us were out in full force, circling as though this was their final day on Earth, and throwing down harder than some of the kids upstairs. It’s a sight to see, the geezers out to play. Sick Of It All? Nah, I could go for a couple more songs, please. It was all over too soon, but luckily the cycos in Suicidal Tendencies were up next for all of us who have a bone to pick with your polite society.
You still can’t bring them down………
SUICIDAL TENDENCIES are the reason why Punks and Metalheads are on friendly(-ish) terms today, so thank them whenever you see a guy in a SLAYER shirt and a guy in a cut up CIRCLE JERKS shirt in the same pit not punching one another. They and D.R.I. essentially paved the way for Crossover and Metallic Hardcore of all types, so it’s a pretty big deal that they are once again sharing the stage. MIKE MUIR has aged physically, but his voice and attitude towards life have thankfully remained ever fresh and relevant since their self-titled LP released in ’83. Still cyco after all these years, anthems like “How Will I Laugh Tomorrow If I Can’t Even Smile Today?”, “Possessed To Skate”, “I Saw Your Mommy”, “You Can’t Bring Me Down”, and of course, the almighty “Institutionalized” still have the same punch that they did when they were first penned. The new line-up hasn’t changed a thing as far as their energy goes, as they’re just as vital as the group of youngsters that initially formed the band. The mini-speeches Mike made between songs were at once inspirational and wide-eyed and had a touch of the lunacy that attempting to play by everyone else’s rules brings on a free-thinking mind. I don’t exaggerate when I say I could listen to MIKE MUIR spoken word on how to subvert societal norms with the same interest as I would HENRY ROLLINS describe his interactions with strangers. Fuck with life regularly.
It seemed like half the crowd was on stage for the big finish.
In all, New England Metal & Hardcore Festival XV was a massive success. Hundreds, thousands even, from all over the world, including a crew that came all the way from Japan just to see Terror, all united in their love of heavy music. It’s a wonderful thing, and I wish all shows were this grand, if not quite as expensive. But fuck it, I got in for free because I’m cool. Cheers, fuckers.
Due to the sheer volume of bands and out of consideration for the eyes and souls of any readers, I won’t get into great detail with any band that kinda sounded like all of the other bands or that I don’t particularly like. Or in some cases, missed either because I chose to because I’m boss status or various circumstances. Also, hello again.
This show got started with SAVING GRACE, who are a Christian (obv.) band from Australia that play some form of hardcore that is heavy. You can get down to it with relative ease. Following them were yet another Christian crew, albeit a little heavier, both sound and weight-wise, under the moniker THOSE WHO FEAR. They provided a little anti-sermon, which is much appreciated so you know you’re not being judged. Totality was neatly sandwiched between the two, but their unremarkable sound and downright silly pit action that resembled enthused leprechauns circling a pot o’ gold bore their almost being left out of this review entirely. Sorry, guys.
A time skip and a jump later, FIT FOR AN AUTOPSY came out and encouraged the pitters and sinners to act a fool. One of the few true Deathcore bands currently existing as a legitimate combination of blasting Death Metal fury and Hardcore pit ignorance, FFAA have a lot to be proud of. For starters, they got to play the pre-party with REVOCATION, THE ACACIA STRAIN, and ABIOTIC to name a select few goodies. They can also be proud of the fact that they’ve got fans in both the Metal and Hardcore crowd going hard in the pit for ‘em as though the differences are non-existent. The set was spot-on, with cuts like “The Jackyl” and “The Conqueror”, and even a few new songs, ringing true and clear despite Nate Johnson’s apparent throat problems following an incident where he nearly swallowed his own beard. Hence, babyface Nate. Following these beasts were EAST BEAST, an up and coming crew of aggressors from (wild wild) Western Mass. Heavy, pissed off, but maintaining a sense of fun, I hope East Beast goes places with their churning breakdowns and rousing two-step sections.
The next band I witnessed, GLASS CLOUD, is well on their way to success, despite their part in the controversial “djent” movement. Boasting the guitar talents of TONY DANZA TAPDANCE EXTRAVAGANZA‘s (RIP) own Josh Travis, they’ve already got one musician that’ll provide the heaviness and dexterity that’s needed for a band of their type. Luckily the rest of the band is able to pick up their own slack, with tight drumming, tastefully layered melodies, and delectable clean vocals to go with the standard shouts and growls. I dug it. What I didn’t dig was the sound mix during TÝR, and unfortunately these otherwise fierce Viking warriors were sounding rather dull and neutered. I couldn’t stand to hear it for more than a minute and ran outside to socialize.
TYR played great set suffered from a poor sound mixi
Freeing us from the hordes of noisy Norsemen were THE CONTORTIONIST, bereft of their usual singer, Jonathan Carpenter (not to be confused with the director of The Thing, of course), but it mattered not, since the equally talented singer of LAST CHANCE TO REASON, MICHAEL LESSARD, stepped up to fill in while the band searches for a new singer, presumably American Idol style. Replacing Jon Carpenter, even temporarily, is a job that would make anyone short of BTBAM‘s TOMMY ROGERS nervous. Despite the pressure to stay on key during the melodic sections of “Geocentric Confusion” and “Holomovement”, he cut through them with the same ease as he would during “Programmed For Battle” or “The Linear”. Spot on, you couldn’t tell the difference, aside from his apparent nervousness on such a large stage. The band as a whole remained professional and broke it down with the heaviness we know and love (that breakdown in “Oscillator” gets more massive every time I hear it live), and regaled us with tales of space and the inner workings of the mind. Marvelous, would repeat.
BATTLECROSS played upstairs, banged heads.
Sadly not all progressive/technical Metalcore acts cannot be as rousing of the spirit as THE CONTORTIONIST, as their peers WITHIN THE RUINS so gladly demonstrated with their show of brute chugs and going-nowhere-fast noodles. They weedled too much on “Creature”, they attempted to even it out on “Invade” by adding in some random chugs, and “Elite” is just much more of the same palaver. It’s not impressive by any means, but it isn’t terrible, so I’ll just stick them with a solid “meh”. AFTER THE BURIAL are a band that has drawn many comparisons to the WtR crew, but I feel that their style and panache entitles them to the chugging and weedling that other bands simply cannot master. I eagerly anticipate their new album to be released on Sumerian Records later this year. The band simply cannot fail as a cohesive unit, blending polyrhythms with a mind-bending ease, crafting dizzying melodies and mosh parts with equal verisimilitude, and of course, lyrical splendour that lends to great quotability. From the brutality of “Berzerker” to the more heartfelt hitters “Your Troubles Will Cease And Fortune Will Smile Upon You”, they get the crowd moving in a way that WtR can’t; with passion. BORN OF OSIRIS were the final flagbearers of prog-leaning Metalcore for the night, playing a set almost exclusively made of songs from their most recent outing, The Discovery, the only exceptions being oldies (but goodies) “Rosecrance” and “Empires Erased”. Some sound difficulties made the second one difficult to recognize until some way through, but hey, it’s a killer tune. The fact that The Discovery is just about a perfect album saved the set from being wearisome, as playing only material from one release is often a bad move for any band to make, but hey, like I said, it’s perfection in sound.
ENSIFERUM took the stage next, but not feeling in a very folky mood, I made my way upstairs to let the Vikings return to the battlefield once more, and check out ALPHA & OMEGA. One particularly awesome thing I saw was FitFo’s guitarist Pat Sheridan tearing it up in the pit like a monster programmed to kill mercilessly. Other than that, not much to say. Following them were everyone’s favourite tuff guy crew to love/hate, the infamous TERROR. Boasting equal parts old-school Thrash circle-pit riffs and breakdowns to get stangry to in a flat-brim sports cap, Terror have been damn near unstoppable since their inception in 2002. Sure, SCOTT VOGEL may have (unnecessary) beef with THE GHOST INSIDE, and may have dissed Refused on their reunion tour needlessly, but there’s no doubting their power to get a crowd going. The stage was as full of rabid fans that were at once tearing at one another and sharing the space, shouting every word without fail, and also knocking out fools that weren’t with the program. The staff’s completely helpless when a band with TERROR’S draw plays upstairs, and that’s the Lord’s truth.
TERROR’s “Live By The Code” is out now on Victory Records.
THE DILLINGER ESCAPE PLAN wrecked the stage and themselves.
While I did not physically spectate THE DILLINGER ESCAPE PLAN and instead mucked about upstairs, what I heard was their normal grinding technical Calculatorcore fury, punctuated by mellow moments that provide eyes for an otherwise blind hurricane of extreme music outpouring OPETH played a really long set of cool songs with growls this time. Two and a half hours. I have no words for it, except damn that shit was dope.
JONAS RENSKE from KATATONIA
OPETH brought back the growls and the heavy songs!
GOJIRA’s headline tour made a stop at the venerable Worcester Palladium on a February’s night. The place was packed in anticipation of GOJIRA’s first performance in the larger downstairs stage after five times playing the smaller room upstairs. JOE DUPLANTIER even made a joke about it from the stage.
THE ATLAS MOTH opened things up with their depressive, sludge mash up and they were loud as fuck. They actually blew a speaker out in the venue and that has only happened a few other times. They are one of the most exciting bands in the scene right now.
Dave of THE ATLAS MOTH
STAVROS of THE ATLAS MOTH
Alex of THE ATLAS MOTH
DEVIN TOWNSEND PROJECT was next and they were amazing. I do believe DEVIN TOWNSEND gets better every time I see him play and this was one of the best shows I’ve seen him put on. His band was great as usual and turned in the absolute heaviest versions of “Kingdom” and “Juular” I have heard. “Grace” was an amazing closing number. At the end of the set Devy thanked the audience for coming out, since metal is such a small genre. He then jumped off the stage and hugged and thank the crowd personally!
DEVIN TOWNSEND is amazing!
RYAN VAN POEDEROOYEN
BRIAN WADDELL of the DEVIN TOWNSEND PROJECT
DEVY shreds!
GOJIRA was incredible and certainly has grown into an impressive headline act. Their stage set was ominous and compelling with their L’Enfant Sauvage album artwork inspired backdrop. They used very creative lighting effects and smoke to set the mood, which was perfectly matched to the brutality of the music. I wonder for some of the mosh pit regulars who just wanted to slam, the artsy element of the show was lost on them. Still, it was an amazing set with songs mixed in from the newer to the classics like “Flying Whales”, “Toxic Garbage Island” and “Wisdom Comes”. At the end of their set the band took a bow and also went down to the barricade and thanked the fans up close. It was wonderful to see!
JOE DUPLANTIER and GOJIRA played on a terrific headline set.
GOJIRA had an inventive, creative light show.
GOJIRA guitarist CHRISTIAN ANDREU is a passionate performer.
There are some great female singers in Heavy Metal now, but it can be argued that most of them would not be singing Metal, much less enjoying the acceptance and popularity they do today if it were not for Metal’s true queen and pioneer – DORO PESCH.
It is one thing to possess a fantastic singing voice, but it is another thing entirely to have that plus staying power. Since 1984, when she debuted with WARLOCK, DORO has not only continued to release albums and tour but has managed to stay relevant. Her presence and the respect she commands by having a pure Metal heart, being appreciative and respectful of her fans, and bringing magic to her many collaborations makes her a very special – and influential – musician indeed.
Doro released Raise Your Fist in 2012, and like most of her recent catalog, received minor attention and only charted in her home country of Germany. However, she tours the States for her die-hard fans, making a stop at Atlanta’s Masquerade. The room was full of 1980′s throwback – folks who were happy to step out Hair Nation-style. What was impressive was the age range of the attendees. There were little kids brought in by their parents in rock t-shirts and others sliding into their 50′s and a few older than that, all there to rock out to 80′s hits and see some good, straight-up Metal.
There were two bands to take the stage before DORO. Local band BRAZEN ANGEL took the stage first, full of energy and Southern pride. Unfortunately, while all competent musicians, and having a very good singer in Reese Martin, it was clear they were not only local, but definitely more bar band than touring band. As if it was necessary to drive that point home, they mention the fact that their fans, who were out in force and seemed excited to have their local heroes in the lineup, helped them pay-to-play to get on the bill. A faux pas they should never repeat onstage again, even if not necessarily a secret. What they lacked in polish they made up in enthusiasm, however, and they appeared genuinely appreciative of the chance to perform tonight.
SISTER SIN has grown by leaps and bounds the last few years.
Up next was SISTER SIN, a Swedish hard rock outfit fronted by the vocally powerful LIV JAGRELL. Pro and tight, they powered through an athletic set of “old-school metal” that was complementary to the 80′s hard melodic rock style and vibe of the evening. A little bit MÖTLEY CRÜE, a little bit SKID ROW, some gang vocals and a lot of pure energy. The band has been working hard to establish itself and promote their new album, Now and Forever, which has some very strong material. It was great having two bands with strong front women on the same bill, and SISTER SIN was perfect to open up for DORO.
The Metal Queen herself!
When the diminutive DORO came out the crowd went nuts, and what is amazing is how little she seems to have changed over the years. She sounds phenomenal and looks fantastic, not much different from when she first broke through in America. The other gift she has is her command of the stage. She is a powerful presence, but it is tempered with an endearing sweetness and grace. She thanked the crowd early and often, reaching out into the crowd, communicating as if she was speaking to old friends. She also makes her band very much a part of the show instead of treating them as just a backing band. GUITARISTS BAS MAAS and LUCA PRINCIOTTA, NICK DOUGLAS on bass and JOHNNY DEE on drums are an international, highly visual and incredibly tight unit that gave Doro a solid backdrop for her vocals. She played a great mix of her catalog, opening with “Earthshaker Rock” and sprinkling in other favorites such as “I Rule the Ruins” (this writer’s personal fave), “Stay Hard (True As Steel)”, the fan-dedicated “Fur Immer” and “Metal Tango”. She dedicated “Hero” to the late RONNIE JAMES DIO, and there was even a drum solo, giving DORO’s pipes a break and giving the drummer JOHNNY DEE a chance to show his chops. “All We Are”, the song she is probably most famous for here in the States, was actually played toward the end of the set – not as an encore. The band finished the set, and did two more songs for the first encore, the unreleased in the U.S. “Love Me In Black” and “Fight For Rock”. Answering the chanting crowd, she was able to fit in one more song for a second encore, which by fan demand was “East Meets West”. Nearly two hours of music and not one dull moment. DORO’s music may be dated and lyrically lacking to some Metal fans, but her uncomplicated and sincere approach makes the music what it was intended to be – empowering, unifying, and fun.
“Raise Your Fist” was released last year.
Other than the fact that DORO appears untouched by time, what was striking about the night is how the crowd showed their reverence for her. It was a full room though maybe not a sold-out crowd, but you would not have been able to tell from the raucous fan-worship bestowed upon her. Everyone was respectful and kind, and the band worked that room as if they were playing a packed out stadium. Some performers seem to thank their fans almost out of obligation, but DORO seems to be truly appreciative of the fan base that has kept her making music for nearly 30 years, playing songs that fans have requested and touched by the fans knowledge of her music not even released in this country. In a time when pretention and pomposity is king, it was so refreshing to see a performer not only enjoy what they do, but remembers the fans are the reason they get to do it.
DORO live at The Masquerade.
DORO and her band.
If there was one downside to the show, it was the overall sound. The Masquerade has 3 rooms – Heaven, Hell and Purgatory. DORO’s show was held in Hell, which had a flat, harsh sound that just would not round out. Heaven, where I was fortunate enough to see NEUROSIS last month had a great sound. It doesn’t make sense that there would be such a vast difference in sound quality in the same venue especially when such sonic deficiencies can be easily improved.
This is a minor gripe. The show was great, with DORO showing that while other ‘chick singers’ may come and go, she is legend; she is still the Metal Queen. Anyone who may have forgotten, and was there this night, got one hell of a reminder.
SETLIST:
Earthshaker Rock
I Rule the Ruins
Burning the Witches
Running From the Devil
Stay Hard
Raise Your Fist in the Air
Metal Racer
Fur Immur
Hero
Unholy Love
Breaking the Law
All We Are
Revenge
Metal Tango
Twas another brutal cold night in Boston recently, but more brutal than the winter winds, was the metal coming from O`Brien’s Pub. CASTLE was coming to town and no storm or shitty weather was gonna make me miss it. I got to the bar a little early and it was kind of dead looking as we milled around the bar with the bands, drank lots of grog. But an hour later the place filled up nicely. As a non-native Bostonian, I have to say these fans are some of the best I’ve ever seen or spent time around at supporting local and national acts.
SECOND GRAVE’s KRISTA VAN GUILDER.
Leading off the show was Worcester MA bred band SECOND GRAVE. I haven’t been this impressed in a long time from an opener like I was tonight. KRISTA VAN GUILDER’S (ex-WARHORSE/ OBSIDIAN HALO) dusky, enchanting voice gave me chills all set long. But more than just begin a foil talented front woman, the band grooves with great songs. Every member of the band added to the special sauce that made each song unique. I really like when bands have the entire package of style and songs, and care little for music conventions. There were so very heavy, yet catchy and highly memorable with songs suck as “Covet” and “Mountains of Madness”. This was a case where the openers nearly stole the show from the headliners, since they were that good. I’ll be listening out for them for a long time to come.
SECOND GRAVE
Then after a quick changeover CASTLE took the little stage. Hot on the heels of their celebrated Blacklands album which was released in the US on Prosthetic Records last summer, the band is bringing their mesh of Doom, proto-Thrash and other classic NWOBHM sounds across the US. As the crowd filled in and the lights dimmed the band seemed to take a moment to prepare themselves for what was to come, a crusher of a live affair.
Opening with “Ever Hunter” the band was killing it right out of the gate. Singer/bassist ELIZABETH BLACKWELL tossed her frame all over the stage as she attacked her instrument as much she played it. Singer/guitarist MAT DAVIS matches her intensity with his razor wire riffing, contrasting vocals and stage presence too. “Ever Hunter” is uptempo and the band sways back and forth between churning grooves and fast MOTÖRHEAD-esqueripping fast songs. Elizabeth shifts her vocal stylings between a gritty roar and a softer croon at times. It really helps the ban spread their wings musically and keep it interesting from track to track. Tonight the band also had a secret weapon in drummer RAE AMITAY (THRAWSUNBLAT/ex-MARES OF THRACE/WOODS OF YPRES) stepping in for Al McCartney. As usual for Rae, she crushed her kit into submission and helped the songs come through a lot meaner than on record. The highlight of the set for me was the three song run of “Corpse Candles”, “Blacklands” and “Total Betrayal”, from their first album which I still favor highly. Closing with “Shaman Wars”, the band thanked everyone who came out to rock on a shitty Monday night, and called it a show.
Super-groups are not always so super. Most of the time they sound better on paper as an idea rather than once it is executed and later, picked apart. However, one amalgam of talents has come together in a formation that is actually unique and special. Less like a band, more like an avant-garde art collective, CORRECTIONS HOUSE delivers far beyond their actual promise. Bringing together some of the greatest names in the underground of metal, yet some how coalescing the resulting sounds into something really genre defying. CORRECTIONS HOUSE is comprised of MIKE IX WILLIAMS (EYEHATEGOD), SANFORD PARKER (NACHTMYSTIUM), SCOTT KELLY (NEUROSIS), and BRUCE LAMONT (YAKUZA). The live show allows each member to make a mark. After solo sets by each artist they come together for what they are calling an “Worlds End Manifesto”. It is brutal, harrowing and beautiful to watch and feel.
They are currently touring the USA with plans to go over seas to Europe and elsewhere soon. The band has been recording for future releases around everyone’s busy schedule. In the works is a limited edition 7” through Parker and Lamont’s newly-formed label, War Crime Recordings. Further details to be revealed in the coming weeks.
SANFORD PARKER led things off by creating some cool sound-scapes.
BRUCE LAMONT joined him next on the Sax, vocals and added his own weird effects.
MIKE IX WILLIAMS read poems and told some stories from his book “Cancer As a Social Activity”.
SCOTT KELLY joined next and sang two songs from his recent solo outing “The Forgiven Ghost In Me”
By themselves they are giants of heavy music. Together they are CORRECTIONS HOUSE!
MIKE IX.
BRUCE LAMONT.
Review by Keith (Keefy) Chachkes. Live photos by Echoes In The Well.
There was a bitter chill in Boston that swept in last week and the fact that it was January, had nothing to do with the temps. I’m talking of course about the MARILYN MANSON headline tour that came to town. Touring in support of his “comeback” album, there was no shortage of rabid fans and curious parties willing to brave the actual cold, to make it to the show. You can always tell the reluctant boyfriend or a friend dragged to one of these things. I saw quite a few converts from the early crowd, by the end of the night.
BUTCHER BABIES played an energetic set.
I almost missed the start of BUTCHER BABIES opening set. Thanks to the extra vigorous pat down by security, a rarity even for this place. The band hit the stage as a ran to the front of the barricade, unsheathing my trusty Nikon. And when I hit the front of the stage, the first thing I noticed was Carla and Heidi were fully dressed! I know what you are thinking: “here’s another dickhead sexist journalist who is gonna talk shit about BUTCHER BABIES”. This blogger and this blog has been a supporter and defender of BB’s right to bare arms or whatever else they want. Actually, I was just surprised they were buttoned up in general. Then I remembered I was the House of Blues, which is owned by Disney wasn’t going to permit any shenanigans at all, or at least allow them to be reserved for the notorious headliner.
In the meantime the band was opening up a can of whoop-ass. Front Women Heidi Shepherd and Carla Harvey ran all over the stage, screaming, headbanging and generally looked like they were having a more awesome time than everyone in the room. Between songs they were really funny, hitting on girls and picking on the few dumb dudes in the room. I had seen them already in a few small clubs, and there was no doubt they were best suited to the bigger stage and show. The pair leaped off of speakers and other parts of the set while they screamed themselves blue in the face. The entire band is solid, but who really stood out to me was drummer Chrissy Warner. He sounded like a powerhouse behind the kit and really killed it performance wise. The band of course did there well known tracks like “Mr. Slowdeath” and “Axe Wound”, and a few new songs from their upcoming full length on Century Media Records. To their detractors I say; the band is not trying to re-invent the wheel musically, nor will they. They just play some fun, mean sounding metal and promote some girl power. The crowd response was all you needed to know about this night, it was huge! Besides, if you don’t have haters, you are doing it wrong. Props go out for the entire band hanging out by their merch table the rest of the night, posing for pics, and signing anything and any body parts people wanted.
Then it was time for the main event. I was really excited since I skipped out on the last tour for a variety of reasons. I rather enjoyed Born Villain last year and really didn’t see the fuss about it being some sort of comeback record. Manson has been fairly consistent overall, always puts on a great show, and generally does a lot for his fans. The band hit the stage to the brand new album cut “Hey Cruel World”, and the crowd was immediately into it. Manson was in hysterics, pacing back and forth on stage, crooning and then howling into the mic. It’s the perfect song to start a show off with. It has that old NIN/MINISTRY groove to it that Manson’s music was well known for back in the day. No navel gazing, just rage and rock. He was wearing the creepy “evil mouse mask” from the HCW video. It’s also a take off of the one from the Golden Age of Grotesque era. It was disconcerting and normal for him all at once. The next track was “Disposable Teens” which sent the club out of control. As usual, by his side was ever slender looking TWIGGY RAMIEREZ on guitar. He looked resplendent in his little party dress, but was really ham handed on those essential, heavy riffs. Next up was “The Love Song” which dialed down the tempo, but no less fury. Manson for his part is a tireless showman. He changed costumes and props nearly every song, and had 9 different microphones for a 14 song set. You might call that excessive and diva like, but I would call it brilliant. My favorite of these was the rubber blood spatter smock and Knife-microphone that was an homage to Dexter and of course his fabulous pimp suit for “The Dope Show”. None of the theatrics took away from the pace of the show and were executed with military precision. Manson was where he needed to be and on point. The show still felt dangerous and spontaneous. There we all kinds of confetti cannon showers, dramatic lighting, light up crucifixes and a huge backdrop you’d come to expect from such a spectacle.
“When the going gets tough, the tough get weird” ~Hunter S. Thompson
In addition to the hits, Manson did play some interesting cuts such as “Slow-Mo-Tion” and “King Kill 33”. Although the back-to back cover songs of “Personal Jesus” and “Sweet Dreams”, are nearly obligatory now, they definitely were appreciated by the crowd. On tracks like these it was easy to see the value of the energy bassist Fred Sablan (GOON MOON/BIRTHDAY TWIN) and drummer Jason Sutter bring to the fold. They are recent additions to the group, but fit in well considering the lineage for talented guys the band has had. The highlight of the show for me might have been “Coma White”. With an effect that made it look like it was snowing inside the venue and Manson’s performance, wrought with emotion. You could tell as he brought the level of crowd energy up and down with just his command and will, and the fans dug it. It’s a move not just anyone can pull off. With a blend of classic/modern DAVID BOWIE, ADAM ANT chameleon antics, and IGGY POP-like energy, Manson owned the night.
Don’t call it a comeback…
Coming out for an encore of “Antichrist Superstar” and “The Beautiful People”, it would have been hard to top that for a finale. I was a little bummed that the show ended at just over an hour, or that Manson chooses not to musically acknowledge Portrait of An American Family. I get that the 44 year-old Manson may not relate anymore to music he made twenty years ago. Maybe next tour we’ll get to hear one of those classic anthems from the 90s that made many people in the room dig the man in the first place.
Set List:
Hey Cruel World
Disposable Teens
The Love Song
No Reflection
Mobscene
The Dope Show
Slo-Mo-Tion
Rock Is Dead
Personal Jesus
Sweet Dreams (Are Made of This)
Coma White
King Kill 33
I wanted to make a point to cover the music first, and bring out as much positive as I possibly could regarding who played, what stood out to me, etc. I think this part if very important for people that are heading out to see a show or festival, don’t know a band, and decide after reading a review to check one of the bands I discussed out. With this said, I hate writing negative things about artists, or their music, I’d rather focus on the positive, and what I enjoyed, however I can’t say that the overall experience as an attendee of Sonisphere Spain gave the me the same sensation.
The event was a huge success; Last Tour International put the festival together, and has been organizing it since its initial inception four years ago. They run several other festivals here in Spain, and bring a lot of the big name acts to this country. I must say that this was the most poorly run festival I have ever attended, bar none. Up until a few weeks ago the festival was going to be held at another location (also on the outskirts of Madrid in Getafe) where the previous two Sonispheres were held. The problem with this location was that you were basically in a dust bowl during the shows. At the end of the night you were covered in dust, and the Red Cross had to tend to scores of people that could not breath correctly as a result. So Last Tour boasted how the festival would return to the Auditorio John Lennan, where they held the now defunct Electric Weekend which also had METALLICA as its headliner. Now pay close attention because when this information came out, they mentioned (and this is still on their website) how this new location held up to 40,000 people. Ok, so on Sunday a day after the festival wrapped they mentioned that day 1 had over 38,000 people attend while day 2 had over 54,000! So how can a location that could hold up to 40,000 people hold 14,000 more? When I interviewed John Schaffer of ICED EARTH a few months back he mentioned how the music industry mostly about illusion, and the music actually came second. I mentioned this because it seems like either someone doesn’t have their facts straight, or just lying. In the end they’re trying to sell certain illusion. The kicker is that the food court per say was nowhere near being full at any point during the festival.
So I get to Getafe, there are no signs regarding where the Sonisphere is taking place, until you’re practically on the festival grounds. I can’t tell you how many people stopped me for directions, or mentioned they drove around for an hour and a half until they found it. What I did was follow all of the people with the black hard rock and metal t-shirts! Once I got there I followed the signs to the parking lot, which I discovered was already full by the time the gates had opened. I circled for a bit, and saw the droves of people walking from all directions, so I drove until I found a spot. As I mentioned previously 2km away, more or less a mile and a half, which isn’t that big of a deal if it wasn’t that they boasted about the parking situation! Not only that but as customary with Last Tour’s festivals, they offer free camping, provided you show them your ticket. What they don’t allow you to do is drop your things off anywhere near the camping area. So get this, I had a mile and a half walk, with my tent, cloths, food, drinks, sleeping bag, etc. I walked for about two minutes, turned around, and took a relative up on their offer to stay with them in Madrid. That said, I had plenty of friends that made the trek to the camp grounds. Once there they were lucky if they found a spot to camp. Tents were less than half an inch away from each other, if they could somehow squeeze in. A lot of people camped on the side of the road, or slept in their cars. Someone working the event (who chose to remain anonymous) copped to the fact that they only had camping for about 10,000 people. So you’re putting on a show in an area that holds 40,000 people, and you only have an area large enough for 10,000 people? No provisions could have been made to either setup parking or camping somewhere off location and have people bussed to the site? The same organizers do this at other festivals, why not here? It really seems as if Last Tour really did not plan well, or they just flat out don’t care about the state or wellbeing of the attendees to one of their premier events.
I went to the festival given the impression that I would be able to interview four bands, so I took my netbook with me, I usually write questions down at home, and use the netbook during interviews to rattle off my questions. So after walking for 20 minutes I got to festival site. I went through the first security check point, then through the booths where I received the festival bracelet, and then through one last check point where I was denied access into the festival. I was told that a laptop was not permitted. I mentioned why I had the device on me, and was told that unless I had a pass specifically for it, that I would not be allowed in. The person next to me was denied entry because they had an old digital camera the guards mistook for a professional reflex camera, what a joke. I was very annoyed to say the least, given the debacle with the parking, camping, and now this? So I collected myself, calmed down, walked 20 minutes back to my car, and then 20 minutes back to the festival where I was finally let in. Ok, but check this out, a laptop isn’t allowed, but handcuffs, iPads, a motorcycle helmet with horns, someone with a gas mask that had three inch spikes coming out of the sides, and last but not least a rubber Thor hammer, were all allowed in. Sure it’s just a toy, but imagine if someone gets drunk and pissed off and decides to smash someone in the side of the head with it? So anyway, I could really see how my netbook is much more dangerous than any of those objects. I could also see how an iPad varies a considerable amount from the netbook. What did they say to get it in, “hey it’s only a big phone?” Speaking of phones, there was little to no phone service, no 3G or internet anywhere. You want this to be considered a major festival, you need these amenities.
Once inside you would have found bathrooms to your left, stage 1 to your far left, the token booths, various bars, the DJ tent, stage two in front, and the food court to the right. With regards to the food court a lot of people bitched about the prices; I didn’t find them to be that bad. All festivals or shows have over priced food and beverages, it is what it is. The problem with the food stands was that the lines were unorganized, food was handled with bear hands, some venders refused to give you change, and there was dust and dirt everywhere. They mentioned this wouldn’t take place, but the dust was still ever present. You paid using tokens, they were either picks that represented 1€ or paper bills that represented 3€ and 8€. Why those amounts is beside me. But more than one person mentioned that while paying with the paper bills, the vendor refused to tender them change. So they’re essentially ripping you off. Food and beverages was not sold together, so after waiting an hour for a sandwich (which was my case), I then had to go to a bar on the other side of the grounds to buy something to drink. Is it too much to ask to have the same people sell some sort of drinks? What about having a beverage stand in the same area?
As far as bathrooms are concerned, ok, so you always have your usually filth, excrement, and urine all over the place in the bathrooms. Whenever you get that many people together, you’re bound to find a few hundred slobs. If they’re drunk to boot, well you can just imagine. The worst thing that I saw was that they have portable standing stalls for the men, and for the first time ever there some that were not accessible because they were overflowing or leaking urine from the bottom. Funny thing is Last Tour promised more bathrooms and showers at their new and improved location. This wouldn’t be an issue if this was in fact the case, or if things had been planned accordingly.
Would this festival be allowed to take place in another country? What about if there was some sort of health inspection that took place? I would imagine that the answer would be no.
With regards to the overall sound, stage 2 sounded great, stage 1 (the main stage) was terrible. There was one spot where stage 1 did sound great, they had a giant screen behind the sound tower that had its own speakers. Everything was perfect there, but if I’m at a festival I want to see the band in person, not have to watch a screen as if I was at home. For that I’ll stay home and put a DVD on. No reason why the sound could not be as good in front of the main stage.
With regards to the security team, I saw one very alarming trend taking place, and no I’m not talking about my netbook debacle. KYUSS LIVES! was on the second stage, and their die-hards were going nuts. Some people got up on people’s shoulders, and were immediately told to get down, I thought this was odd, but ok, I guess it’s a precaution. What was far worse was if you crowd surfed, security jumped into the crowd, and pulled you out, jamming people’s arms up behind them as if they were going to be handcuffed! I was in shock, this for crowd surfing? Was the security team privy to what takes place at a concert? The security also wore black padded gloves that are not needed, unless your intentions are to pound on someone. I was appalled, were they there to preserve the safety of the crowd, or were they there to be a goon squad? Someone must have mentioned this because on day 2 I saw a different demeanor from the security team. Still no reason for them to act this way to begin with.
They had a “black hole” on day 1 and “snake pit” on day two. In other words if you paid more (not sure on the exact amount), you had the right to be upfront and dead center for all of the acts on the main stage. No big deal as I’m used to attending shows in the states, and seeing this. But at a festival? Sort of doesn’t make sense. I do have to say that if the area was not filled a few songs into someone’s set, they would let anyone in. I did witness one incident were security was allowing a group of females into the “black hole”. A gentleman came along and was denied access, while wearing the designated bracelet for the area! Another member of security noticed what had taken place, and he ran over and let the guard know about his error. The second guard apologized to the livid fan that told him that he didn’t pay extra to not be allowed in and worse yet, see someone deny him entry while trying to chase tail.
As they say inZombieland it’s the little things that count, so many little things could have been done to make the experience so much better. Why not come up with a plan to make sure you have enough parking and on site camping for everyone that will attend? Ok so you switched plans to have the festival at this location, but I’m assuming that even with a few weeks’ notice you could work something out? What about assuring that the food vendors aren’t ripping people off? Or making sure that they’re properly handling food? How about allowing beverages to be sold in the food court? What about the bathroom areas, you couldn’t double what you had to ensure there was nothing overflowing? How about cell phone coverage, I’m shocked that in a city that has repeatedly tried to obtain the Olympics doesn’t have adequate service for all of those that attend a festival within the city. I’m sure that when Real Madrid plays in their home stadium (Santiago Bernabeu) you don’t have these issues, and that stadium holds over 85,000 people, almost the combined total for both days.
I do have to say that they got one thing right, moving the festival to late May, which gave us very mild weather, and perfect for the event.
From a reviewer/journalist standpoint, I’d like to do further homework on who is asking for press passes. What good does it do if you’re randomly giving them out? That’s the reason I was given as to why I was not given a press pass, something I find hard to believe. Also, if you’re only going to allow the national media to have a 10 second blurt on METALLICA, don’t you think everyone that wants to and can go see them is already there? If you want this to be an internationally recognized festival you need to expand, allow people with coverage in the states (hello it was Memorial Day weekend and Madrid was full of Americans!) and the UK to have access, and not just the same old same old top 40, or network TV access for hopes that maybe one additional person goes. In the end they need to think quality not quantity. Do those outlets provide you more viewers? Sure, but are those viewers going to turn into concert goers at a metal festival? Chances are no.
All in all I have to say that if the music on day 2 wasn’t as good as it was the festival would have been a total disaster. Not for the organizers as they broke all types of records for attendance, and were more than likely swimming in money on Sunday morning. What I would like to see is that take into consideration how crappy of an experience the event was for those that attended. Have some sort of backup plan if things don’t work out, or alternatives to make sure concert goers receive the best experience possible. After all, they’re the ones that guarantee that your festival stays alive for another year. If not go back and see why some of your own festivals no longer exist. Learn from your mistakes; don’t try getting away with them until someone calls you on them. One can hope they will for next year’s edition.
I haven’t seen that many dorks in forever. I really haven’t. Go to a Folk Metal show and count guys that look like fauns, it’ll really knock you out. I mean, damn. Lots of ugly mugs. Opening this heathen’s playground was Germany’s VARG, a pronouncedly anti-racist band, though I suspect this is only because a certain mister Vikerness shares a first name with them. They’re also anti-pedophile child fuckers, which is cool too.
VARG: Not stunt doubles for another famous band.
While they may be like TURISAS in that they all look like Darth Maul cosplayers with a Nordic touch, they’re a different beast musically. They are “brutal”, you see. They play an accessible form of Black Metal tinged with some Death Metal, no accordions to be found here. Of course, to further this warlike aesthetic, they asked the crowd where the Viking warriors are, because “dorks and nerds” would have gotten a slightly weaker turnout of enthusiasm. It wasn’t bad, but it could have used a bit more chunky heaviness, because in order to claim Viking status, you must be rapists, but only of grown-ups.
Long-awaited albums are usually not this good.
Up next was WINTERSUN, in a very TIME-ly fashion. Hah. I kill myself. Of course, you’d be quite let down if you had been wanking for years about a full dose of Time, only to find that it’s just one of two installments. Dirty Finns, always finding ways to fuck you over. It’s the same deal as NORTHER hiring a new front man just to die. Can’t win with the Finns.
So anyway, WINTERSUN’s set was fantastic, verging on bombastic. The band played new stuff that was massive, and oldies but goodies that have been bouncing around for nearly a decade, totalling up to less than 10 songs in all. It seemed so short at the time, since they’re well-crafted enough that you’re not checking your watch and considering buying a gun.
ELUVEITIE headlined this show, which was an unforseen complication on everyone’s part. ELUVEITIE have made a career of sounding like middle-era IN FLAMES swapped out techno/electronic fiddling in favour of real fiddling, a hurdy-gurdy, several flutes, and female voices. While certainly not an intrinsically bad idea (I do enjoy them and had a blast when they played in Worcester a couple years ago), it does have an expiration date, and I smell something sour. On this tour they played Helvetios in full, which explains why many of the songs sounded just like this. A few songs in I found myself praying for “Inis Mona” or “Of Fire, Wind, & Wisdom”. Anything to break the growing monotony that was setting in as a terminal disease of endless flute solos and Gothenburg riffing. It shouldn’t be an endurance round of “how many songs can we stomach that have the exact same jumpdafuckup riff”, but an actual musical journey, which is one that our Celtic friends have forsaken in place of some fancy shades. The real highlight was when members of VARG sans war paint came onstage, dived a few times, and had a few beers. I see they got more enjoyment out of goofing around than I did idly standing and realizing that ELUVEITIE has been doing the exact same thing since the demo days.
I suppose it can be blamed on the fact that I’m not as big into Folk Metal as I once was, which was not a great deal back then either. But the days are over where I would sperg out to KORPIKLAANI or get pumped about possibly seeing TYR. It’s a greasy horror show of bad teeth and bad hair. Maybe one day I can enjoy it again, but that will require getting smashed, so 6 more months until I dance ’round a campfire to SVARTSOT!
There are some bands that burst forth from a scene and develop their own musical philosophy and style. In doing so, they influence other bands to greatness and cull a following that hangs on every release, every song, and every note. Such bands become legend, and NEUROSIS, love them or not, are.
A band that soon realized the crusty Hardcore scene and its trappings were too limiting for their ultimate vision, NEUROSIS nurtured and perfected a sound that has sophistication, heaviness and a depth that many strive for but cannot achieve. Fans allow themselves to be submerged in it; others disregard it as over-hyped, overwrought, and boring. NEUROSIS is not for everyone, but for those who “get it”, their music is almost a religious thing, and seeing them live is like going to church.
NEUROSIS is not a band of road warriors by any stretch. True to their approach to music – which is their way, not yours – they tour when their job and family obligations allow. So to see them live is special, not only because opportunities are few, but because there really isn’t any band like them live. Their stop through Atlanta was to demonstrate that even if you aren’t a fan, they have a power onstage and a sway over their fans that is impressive.
But before NEUROSIS took the stage, they had openers that more than primed the audience for them. NEUROSIS runs their own label, Neurot Recordings, and they had label signees U.S. CHRISTMAS (USX), start the night off. Sludgy, yet Bluesy, crunchy with hints of Folk, U.S. CHRISTMAS is, like NEUROSIS already has, forging their own sound. Vocalist NATE HALL alternated between hollering (in a good way) and clean vocals, while his guitar and the rest of the band painted an original sonic landscape. Of note is violinist MEGHAN MULHEARN, whose violin to U.S. CHRISTMAS is like SCOTT KELLY‘s guitar to his band; supportive, not flashy, adding depth and color. If you dig a slower stoner vibe with a Psychedelic bent you will like this band.
Next up was PRIMATE, a punkish ‘supergroup’ of sorts featuring KEVIN SHARP of BRUTAL TRUTH and Bill Kelliher of MASTODON. They took to the stage and immediately went full-throttle. It is always nice to see Bill Kelliher do his thing, and I dig PRIMATE’s sound, but they did seem out of place on the bill. On a night where the other bands had their raging sounds under tight control and there were very few stage gyrations and antics, PRIMATE’s performance was unbridled and wild. However, it could be looked at as a sonic break from a night full of Sludge!
CT of RWAKE
Next up was RWAKE, another sludgy band with a twist that has managed to create something rather unique in a Metal world that has pretty much done and seen it all. Incorporating a Moog synthesizer and tandem screams from vocalists C.T. and B., RWAKE pummeled through a set that showed the musical synergy between its members. Some bands radiate a vibe, and RWAKE’s vibe was all business, rarely allowing the crowd to come up for air. Those who had not seen this band live before should have had a new respect for them. They were a great choice to be the band right before the mighty NEUROSIS.
First off, there is no just grabbing a NEUROSIS CD and expecting it to make sense on first listen. They are not that kind of band. If you like a band’s live performance to consist of flinging themselves all over the stage and pandering to the crowd, they will disappoint you. Their music demands your undivided attention; it makes you either submit to its complexities or annoy and bore the piss out of you with its mood swings, spoken word pieces and ambient passages. However, make no mistake; NEUROSIS is probably the heaviest band you will ever witness. Its sheer musical weight, as in real density, is almost tangible. Even the quieter moments stand on your shoulders, daring you to speak. The bass of DAVE EDWARDSON rumbled deep as he and his bright purple buzzcut undulated/ They were so deep into their own performance, keyboardist/sampler NOAH LANDIS cut his forehead while rocking out and seemed oblivious to it. And while they played, there was no one cheering out of place, no rampant horn-throwing, no moshpit, no chicks on their boyfriend’s shoulders getting their tits out. No. There was a reverence, a deep respect shown to the band to where it felt that it would have been rude – wrong, even – to do any of those things. The fans were there to absorb every note, revel in the perfect light show, allowing the voices of STEVEN VON TILL and SCOTT KELLY to resonate into our very cores. The band was perfect, with four songs of the set coming from their latest release, “Honor Found In Decay”. The set featured two songs from “Given to the Rising”, one from “Times of Grace”, one from “The Eye of Every Storm” and two from “Through Silver In Blood”.
Scott Kelly
Before you think that the crowd was half-asleep, that was certainly not the case. The energy pouring back and forth between the band and the audience was palpable. The crowd grooved and swayed, threw their arms in the air and sang along to the lyrics that spoke to them. We all headbanged in a quiet rhythm when the band dug in and ground out the heavy, and stood hushed on pins and needles when the slower, more pensive sections of music came around. It was all a build to the climactic performance that brought the much-loved and anticipated “Through Silver In Blood”, Neurosis’ 12-minute-plus sonic opus that plumbs the depth of rhythm, heaviness, dynamics and vocal power. VON TILL banged on some drums along with JASON ROEDER, while the crowd finally swirled and screamed in unison.
No stage talk, no song names, no band member intros and no encore. None were necessary. The enigmatic KELLY came back out and took a picture of the crowd, then slid into the backstage darkness with the rest of the band, leaving behind happy fans and others who were still processing what they just experienced. Neurosis proves that you don’t need to have fire, props or dancing girls onstage to make a great show; you just need to do what you do with such conviction and confidence that the audience can’t help but be fascinated. NEUROSIS is still on the road, so catch them while you can as we never know when they’ll come around again. If you’ve never seen them live this is an opportunity to witness something more than just another Metal show, and see the band that – for good reason – has influenced so many others.
