DVD Review: Ending is the Beginning: The Mitch Lucker Memorial Show

I've already put my foot in my mouth several times while discussing the passing of Mitch Lucker, so I'm going to do my level best to keep this review to the show itself and not discuss the man. That sounds like it'd be hard to do, but truth be told if you've never even heard of Mitch Lucker that shouldn't deter you from giving this a shot. Outside of the token "This is for Mitch!" shoutout from each vocalist, this event really didn't seem to be weighed down by long winded memorials or slideshows (like, let's say, the Jeff Hanneman dirge). They paid tribute to the man the way he lived, by airing their grief out through music.

Enter the music critic.

The show is organized essentially as a timeline, starting from the original EP going through to the last record with Mitch, 2011's The Black Crown. It gives a nice sense of how the material evolved, from the band's standpoint, guitar solos start popping up with more frequency as the show progressed but I'd be lying if I didn't say I still found the novelty of all the vocalists coming on and off stage didn't add up to much. Almost all of the Suicide Silence songs are sung by vocalists from the death metal scene, so all of the potential variations on the material add up to essentially the same thing. Some are more captivating than others, Jonny Plague impressed with his command of the crowd for instance, but by the time we got to people like Tim Lambesis (another person whose character we aren't going to get into here) and Chad Grey (PLEASE REUNITE MUDVAYNE AND DUMP HELLYEAH ALREADY) it was too little too late in terms of some much needed variety. The encore is an entirely different beast. All of a sudden we get cover songs, and much more eclectic voices such as Machine Head's Robb Flynn, Max Cavalera from, well, a lot of bands, and Lamb of God's Randy Blythe. We even, in probably the weirdest moment on the whole disc, get Mitch Lucker in a performance that cuts back and forth from Mitch in a file video to the band on stage. I don't know how that was pulled off in the room, but I assume it had to be smoother than on the disc. Still, Robb Flynn's acoustic cover of Black Sabbath's Die Young is very touching, it would've been nice to see a few more performances like it throughout, and closing on Randy Blythe fully in control of a crowd is as good of a closing note as any.

This is a really good concert that is just a bit repetitive. I'm sure that those moreso into the deathcore scene than I will not find that to be an issue like I did, but they were probably buying this release anyways. Even for newbies, there's plenty to dig into here. Well worth a look.

Concert Review: Buckcherry/3 Pill Morning/Monster Truck at the State Fair Center in Minot, ND 02/03/14

Anybody who says glam/hair metal is dead is deluding themselves. The hair styles have changed, but the attitude is still alive. The old guard have found a comfortable place working the bar and casino circuit, and their offspring, bands like Hinder, Black Veil Brides continue to have a foothold on what's left of rock as we know it. Buckcherry used to be counted among those latter bands, but after Monday I'm not sure they can be held up as an example of how lively the subgenre is.

First up though, two bands that don't have a damn thing to do with my thesis statement. I first saw 3 Pill Morning when they opened for 12 Stones at the VFW in Bismarck about a year and a half ago. Since that humble day they've gone on to fairly big things, opening for bands such as Hollywood Undead and Shinedown and touring in general like mad men. They've made by my count about a half dozen appearances in the Minot area since then, but this is my first time seeing them since the VFW. Oddly, they played to roughly the same size crowd, but judging by how it grew and grew as time went on, all that work is starting to pay off for them. I remember thinking this band seemed very confident for what I presumed was a local-ish opener and that confidence has only grown with time. All four members, yes, I believe including the drummer, at least bounced and also ran across the stage like crazy men, all of that movement without sacrificing a note of musical quality. The sound mix was a little rough (and would get worse), particularly when the guitarist attempted to use his pedalboard it seemed, but by the end during songs like "Rain" and "Loser", the issues either seemed to have resolved or the band had overcome them to such a degree that it didn't matter. Probably the latter. Hopefully it won't be two years before I see this band again.

When I saw Monster Truck with Sevendust, In this Moment, and Pop Evil last year (the full review of that show can be found here:  http://jakespeare88.blogspot.com/2013/05/concert-review-sevendustin-this.html), I noted them being an odd choice for that bill but praised them as a pleasant retro act that mixed things up a bit. They made perhaps a bit more sense on this one (in that if Buckcherry are an 80's throwback, Monster Truck being a 70's throwback is contributing to an overall time displaced feel), but unfortunately weren't nearly as fun to watch. Part of this isn't the band's fault, the wonky sound mix started acting up again and the bass was almost painfully loud for the first few songs, but most of it was. What felt refreshing in the time given to the first of four bands came off as very long winded when extended out to the second of three's set. Each song seemed to run about two to three minutes too long, and by the end the crowd was very obviously ready to go, with the band only slightly less ready to stop playing for them. There's something to be said for the truth of the statement "great things come in small packages", but perhaps Monster Truck are just having some growing pains. We'll see in another year.

The sound issues didn't return, and the audience apathy quickly dissipated when Buckcherry took the stage. Unfortunately, even at their most enthusiastic, it was hard to ignore the fact that there weren't many of them. Thankfully, the band, even with a sick frontman, didn't seem to care. Buckcherry's a band that I've heard more about than actually heard, and they delivered on all the promises of sleaze and grit that I was given. They actually went too far in some ways. Watching a crowd chant "CO-CAINE" is one thing, but every once in a while there would be a monologue about a crazy bitch (those who know the band can safely guess which song prompted most of these talks) where I found myself going "Wow, does he know what he's saying?". Even more disturbing was the loud cheers from the women in the crowd that accompanied these. Ultimately though, I came for a throwback to when Guns N' Roses were king, I shouldn't complain too much when the equivalent of "Used to Love Her" happens. Part of the package I guess. Overall it was a very good performance, and the band really can actually play. Both guitarists got cool solos, and the frontman was singing sick and it didn't once seem apparent while he was on stage. It's too bad they didn't have a bigger crowd to see it. If rock is dying, it isn't because of the artists, that's for sure.

Album Review: Fight the Silence by For Today

Even given their outspoken history, it would've been unsurprising after recent events if For Today had chosen to quiet down a bit. The band has been on the rise for the last few years thanks to frequent appearances on Warped Tour and a fairly intense fan following, all the while never compromising their Christian beliefs. In 2012 those beliefs led to controversy when rhythm guitarist Mike Reynolds made comments on Twitter about homosexuality in the Christian faith. The group quickly responded with a video apology and offered their phone numbers to open a dialogue with fans about what had occurred, a personal response the likes of which are not often seen, one that should be commended in my opinion. Reynolds left the group shortly afterwards, and it would've been unsurprising if the group took time to regroup after the fracas. In fact, quite the opposite seems to have occurred, because they've come back with a new disc only a little over a year later, and their aim seems to be nothing less than inciting revolution.

Y'know, nothing too big.

Frankly, I wouldn't be surprised if the band's aims on this album garner a bit more controversy over the fact that there doesn't seem to be much overt "faith" to the agenda on Fight the Silence. Not that these aren't causes Christian groups wouldn't or haven't gotten behind, but the protests and outcries put forward here seem to be coming from a general social sense of duty without as much overtly religious context. Personally, I think this is a strong, mature step for the band that shows trust in the audience. This isn't them backpedaling after the controversy, the instrumentation is too propulsive, too strong for a group lacking confidence. They've laid the theological groundwork, this is a big step out with that behind them to start tackling larger topics, topics like human trafficking (the major impetus for the album was a video singer Mattie Montgomery found online). This step is, as previously mentioned, accompanied by some of the best music from the band, particularly the rhythm section. New drummer David Puckett and bassist Brandon Leitru lend a sound of thunder to every one of the tracks. Lead guitarist Ryan Leitru actually shows off on a number of soloes, more than the average metalcore effort it felt like, and he joins in with new rhythm player Sam Penner as a vicious unit. All of them are led by Mattie Montgomery, who's been a vocalist that has impressed me greatly on guest appearances in the past and does not disappoint in his first full showcase. I've often said that I love metal singers more the better their clean vocals are, and Montgomery's got a pretty good singing voice. His screams are delivered with above average enunciation and plenty of power, which turns just about every song into a potential crowd singalong anthem. It isn't hard to picture songs like "Call to Arms" and "One Voice" stopping mosh pits so people can scream and pump their fists, and I think that's the greatest compliment For Today could be paid on this one. The death of Pete Seeger has raised some attention about the lack of social consciousness in rock today, and these guys will do a pretty good job of holding the torch for a certain crowd.

Album Review: Clear by Periphery

To those who balk at this being filed as an album review: Yes, Clear is apparently not Periphery's third album. That's Juggernaut, coming later in 2014. But it's not an EP either, according to the band. It's too long for that. Here's the way I look at it. Reign in Blood is one of the greatest achievement in music history, and it is considered a full length album even at twenty nine minutes. Clear is longer than Reign in Blood by nine seconds, and that's enough for me. It's an album.

It's also my first musical love of 2014.

Bringing up Slayer was rather appropriate, because I've been thinking about them a lot lately in relation to the subject of writing credits. One of the many facts I learned from DX Ferris's recent chronicle of that band's history (Slayer 66 2/3, available here: http://www.amazon.com/Slayer-66-Biography-Including-Palladium/dp/0615920306/ref=sr_1_1?ie=UTF8&qid=1391252503&sr=8-1&keywords=dx+ferris) is that in the history of the band, Dave Lombardo has never had a writing credit on a song. Paul Bostaph even got two! Not so for Mr. Lombardo. This realization has sparked a bit of guilt on my part, in that I'm very much of my generation in my lack of interest in liner notes. I don't read them. I flip through and look at the art, I use them for autographs, that's it. Thusly, I probably have an inaccurate idea of who contributes what to which songs pretty much across the musical board. Part of what I like about Clear then is how easy Periphery's decided to make it for me. For those unaware, the concept behind this disc is the band took a single theme (the first track, entitled "Overture"), and each band member contributed a variation on that theme. Now, obviously, this isn't some be all, end all Rosetta stone that will help you determine exactly who wrote what and who had a hand in which when looking back on Periphery's discography, but it does go a long way to establishing individual tastes and setting up some idea of the dynamic of the group. That's a fairly unique takeaway from any kind of musical experience! That alone should sell one on giving Clear a listen.

The appeal goes beyond these heady, conceptual ideas though. None of that would really mean anything if the music wasn't good, and Clear delivers on that as well. Periphery is quickly becoming my favorite band, and this disc is as chockfull of complex, off time guitars, rhythmic bass, and ethereal vocals as either of the band's full lengths. Mark Holcomb's Pale Aura is my favorite track, but one of the great things about the concept of this release is that each track stands out as a great Periphery song, but that individual touch makes it hard to disagree when people want to single one out as their favorite. There are enough unique ingredients to make someone respond to each one differently without denying any of their merits.

It's early, but I hope and believe this one will remain a favorite for 2014. The best part? Apparently, we still have a quote unquote official full length coming, so the excitement is only building.

Review: Intolerance by Throwdown

The idea that Throwdown's doing what is ostensibly a back to their roots record is a little bit ridiculous. I say what I'm about to say with no malice intended, but it isn't like Throwdown got too heady or too arty for anybody. They either consciously decided to be or evolved naturally into a bit more of a groove metal band, but it isn't like somebody going from Venom and Tears into Deathless would find themselves going "Who are these people, and what did they do with Throwdown?". Regardless, after four years the hardcore band that became metalcore that became groove metal has become hardcore again. The haters can trade in their Phillip Anselmo comparisons for Jamey Jasta, Vendetta 2.0 is here.

This record is so clearly a conscious decision to strip things back down that a lot of comes off as disingenuous. To a certain extent, I'm not the audience they want to reach. I've never understood the straight edge movement, and on songs like Avow it is made very clear that they are a part of the Throwdown legacy, but it feels like they're playing those notes so hard in an attempt to bring people back that I can't buy them as a personal stance. It comes off as "Oh man, straight edge is hardcore isn't it? We're straight edge, have been for twenty years!". I mean, if you want to jump into a pit, this'll get the job done. The music's fast paced and brutal, no question there. But hardcore and punk have such ideological goals, and Dave Peters feels like such a literate, thoughtful guy (his vocabulary is way better than three quarters of the singers in any genre today, I'll give him that) that I feel like certain intellectual expectations are not unwarranted, and I don't feel like Intolerance meets them. At this point, when these guys rail against social injustices I feel like telling them they aren't the underground anymore. Fight or Die is a perfectly fine statement to get a crowd riled up, but if it's going to be thrown out there as a rallying cry on a societal level, somebody else is going to have to do it methinks. I don't want to stay stick a fork in Throwdown, because they could come back with something else that convinces me, but this particular chapter in their history is done. The song can't remain the same at this point.

We'll Never Say Goodbye: Children 18:3 In Memorium

I hereby request a temporary moratorium on "big announcements" from bands. I'm not sure anything else could cause me more pop cultural anxiety than the words "big news" coming from a band I really love after the Joey Jordison/Slipknot split, and now Children 18:3's announcement that they were launching a Kickstarter for their new, and apparently final, album.

My love for Children 18:3 has gotten some odd looks from people in the past, and truth be told, I can't really blame them. I first heard of and saw them when they opened for Brian "Head" Welch's solo band in Bismarck in 2010, and when they first strode out on stage and launched into "All My Balloons", I was left a tad speechless. They were, well, pretty different, and not the kind of band that I expected to be opening for a heavy metal guitarist. I spent most of their set dodging LeeMarie's boots (my fault for standing with my hands resting on her monitors), I admired their energy, and the contributions of one member in particular who we'll get to in a moment, but I wrote them off a bit. It wasn't until a week or two later when I was still singing "All My Balloons" that I stopped to consider what I really thought of them.

The energy was what first caught my attention, and it remains one of my favorite qualities. I'll mosh to anything, but Children 18:3 makes me want to dance, as stupid as that may sound on a site called Heavier than Hell. They make me want to run around and dance and jump, theirs is a very potent, happy vibe that I need every once in a while. A lot of this energy is due to the drumming of one Seth Hostetter, the member I singled out earlier. Type "Seth Hostetter drum solo" into YouTube and you'll come up with pages of results, all of them jaw dropping. The man plays with a speed, precision, and endurance I only see in like, thrash metal drummers. With his unrelenting power behind them, Children 18:3 go past simple pop punk and pick up that energy I described earlier and become a force that is kind of hard to ignore. Combine all of this with the great, inspiring lyrics of songs like "Oh, Bravo" and "We'll Never Say Goodbye" and the vocal trade off between David and LeeMarie, and you've got quite a potent mixture.

I'm not sure we'll see a band like Children 18:3 again, and that's a damn shame to me. But the adage goes that it is better to leave people wanting more, and that will have to be the case here I guess.

We'll never say goodbye...

Heavier than Hell's Top Ten Anticipated Albums of 2014

10. Anthrax

Anthrax have always been the least of the Big Four to me, owing primarily to my disinterest in the John Bush years (which coincide with when I was getting into metal). 2011's Worship Music was the best of the recent works from those major thrash bands though, and with Megadeth and Slayer each having, well, poor years in 2013 (you'll notice Slayer does not make this list), now might be Anthrax's moment to really shine.

 

9. Fear Factory

I have a feeling that Fear Factory's on the way out. It pains me to say, because they were one of my favorite bands in high school, and Soul of a New Machine or Demanufacture would probably earn a place on a top ten or twenty all time albums list. But all of the acrimonious lineup changes and a decreased profile are, in my opinion, likely signs of an end to their days as a national touring outfit. They're still putting out good albums though, so they'll have my ears as long as possible. Especially if Matt DeVries is laying bass tracks down on this one.

 

8. Testament

Another thrash band I didn't grow up loving, but it's been hard to ignore just how great they've been lately. Dark Roots of Earth is a great album, and I can't wait to see what they follow that up with. Based on the upward swing they've been on from The Gathering to The Formation of Damnation to now, it has the potential to be a hell of a thing.

 

7. In Flames

Opinions on In Flames's last album, Sounds of a Playground Fading, seem to vary. I like it, but given how far they went off the rails after Reroute to Remain (or Soundtrack to Your Escape), it's only one small step in the right direction. Here's hoping the next album's the giant leap for Jesterkind.

 

6. Mastodon

As I said in my review of their Live at Brixton release (located here: http://jakespeare88.blogspot.com/2013/12/another-trinity-for-christmas-three.html), this is one that I've been anticipating for quite a while. They may not thrill me on the road, but in the studio there's few bands I find as compelling as Mastodon. The Hunter wasn't my favorite of theirs, but the advance press I've seen make it sound like they're headed in a more conceptual direction again. Maybe not Crack the Skye 2.0, but something closer.

 

5. Foo Fighters

Had to figure I wasn't going to get through a list without one non-metal album. Sorry. Site might be called Heavier than Hell but even I mellow out on occasion. Wasting Light was probably the best album the Fighters have produced to date, definitely their best since Colour and the Shape, and this newest work is supposedly another more experimental recording, so hopefully similar processes will yield similar results. Whatever the quality, I'm sure it'll be catchy.

 

4. Down

The second EP is done at last. I remain unsure whether Kirk Windstein or Bobby Landgraf recorded the guitar tracks alongside Pepper Keenan, but regardless I am pumped to hear new Down. Perhaps even moreso if it's the first with a new lineup.

 

3. Lamb of God

This one feels like a bit of a question mark, considering the only official word has been that they're looking to enter the studio soon and hopefully have an album out by the end of the year, but I'm fairly confident that it'll happen, and it'll be spectacular when it does. Seeing Randy's energy onstage is unreal enough, but to have him finally write about and express his feelings about what occurred in Prague is going to be...well, rough, but cathartic and powerful.

 

2. Machine Head

I suppose it isn't that much longer than the usual two year cycle between albums, but it's been three long years since Unto the Locust and I am dying for some new Machine Head. Curious to hear what Jared MacEachern brings to the table, curious to see if the publicized focus on shorter songs comes to pass, just give it to me now please. There's no uncertainties or second thoughts in the back of my head on this one. I just want new Machine Head.

 

1. Slipknot

This one, however, I am full of mixed emotions about. Few bands are more important to me than Slipknot, and I've been hoping and hoping for them to record again for years. But the loss of Joey Jordison is pretty significant for me, and I can't determine at this point what Slipknot would sound like without his distinctive style on the drums. So we'll wait and see I guess. It'll certainly be a unique experience, that much I'm sure of.