Ill Nino: 15 Years of Revolution Tour Live at Jewel Nightclub


Ill Nino 15 Years of Revolution ghostcultmag

Fifteen years ago, a Latin metal band from New Jersey took over the air waves. Fifteen years ago, my twelve-year-old life was forever changed. Fifteen years later and the boys in Ill Nino are celebrating Revoluton/Revolucion’s (Roadrunner Records) quinceanera by playing the album in its entirety and I just happened to be lucky enough to have two of those tour dates nearby.

They always play a good chunk of songs off of this record in general but there was still an air of excitement and anticipation at both locations as many of us weren’t quite sure what to expect. Now, when I say that Revolution/Revolucion was played in its entirety, I mean, every single song. Yes, even that one, the last track and possibly the only one your mother likes; ‘With You’. I didn’t want to get my hopes up too much and part of me believed that, with the rest of the set list being so much heavier, that ‘With You’ would be forgotten and left out. I couldn’t have been more wrong. Did I cry? Like a giant, metal baby.

I would have loved to have seen ‘Fallen’ for the first time, maybe next time. For those of you playing at home, it’s a bonus track on the fancy red edition of Rev. As in the past, we were also treated to some favorites off of Confession (Roadrunner Records) with ‘Te Amo…I Hate You’, ‘Cleansing’, and ‘How Can I Live’, plus ‘This is War’ from One Nation Underground (Roadrunner Records). Still waiting on getting my Spanish renditions of ‘How Can I Live’ and ‘What Comes Around’…Someday…

All in all, it was a wonderful experience and I think anyone else who has been able to catch the boys on this 15 Years of Revolution tour will agree. The crowd sang along to every word of every song and we truly were a family.

A lot has happened since I picked up Revolution/Revolucion back in 2001. Ill Nino has remained close to my heart both as a band and as people and they have allowed me to form some incredible, life long friendships with fellow fans from around the country and even the world. I don’t think there will ever be an Ill Nino show where I am not immediately transformed back into that weird twelve-year-old girl, just starting middle school, and I’m okay with that because it just means that I get to hold onto that thrill and adoration for a little bit longer. Here’s hoping we get another special tour for when Confession hits fifteen in 2018.

Set List:

Intro – God Save Us

If You Still Hate Me

Unreal

Nothing’s Clear

What Comes Around

Liar

Rumba

Predisposed

I am Loco

No Murder

Rip Out Your Eyes

Revolution/Revolucion

With You

Te Amo…I Hate You

Cleansing

How Can I Live

This is War

WORDS BY ALEIDA LA LLAVE

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Scorpion Child – Acid Roulette


scorpion-child-acid-roulette

This isn’t my first go around with Scorpion Child, and, honestly, they’ve just never really been able to catch or keep my attention for very long. That trend continues here with their second album Acid Roulette (Nuclear Blast Entertainment) with the exception of a few songs.

‘Moon Tension’ was the first track to grab my attention. It’s more dynamic than the songs that come before it rather than just sounding the same for three and a half minutes. I could find myself singing along to this. ‘Tower Grove’ follows immediately afterwards, keeps the energy going, and I actually did find myself singing along to the chorus. Both of these tracks continue to stand out to me through repeated listens. If the rest of the record could keep up with these two songs, then we’d really be talking.

While the concept of an album based upon the life and adventures of a man wrongly imprisoned for a murder sounds interesting, it just doesn’t do enough to bring this record to life. This album fits in well as background music but nothing really jumps out and above the rest of the general sound. It’s just there.

Scorpion Child may not be my thing personally, but the potential for greatness there and, at the very least, they are worth keeping an eye on for future endeavors. For right now, I’ll keep my hopes high.

5.0/10

ALEIDA LA LLAVE

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Monster Truck – Sittin’ Heavy


Monster-Truck-Sittin-Heavy album cover 2016 ghostcultmag

Hailing from Hamilton, Ontario, Monster Truck returns with Sittin’ Heavy out on Mascot Records and give me my first taste of the band as a whole.

The band continues the rock and roll tradition of telling everyone who gets in their way to suck it with ‘Don’t Tell Me how To Live’. This track an anthem for anyone who has ever had their passion and very reason for being questioned by other parties that just don’t get it. As someone who is constantly uttering these same words, this is a song that I can behind.

‘She’s a Witch’ is great. It’s a groovy warning regarding the fairer sex and a lover mistreated. It’s a nice change from your typical, depressing break up song. The song gets a bit repetitive with the constant chanting of the chorus but is still enjoyable. We all have a little demon in our souls, some just have more than others.

‘For the People’ is cheesier than I would have liked. It’s a cookie cutter rock “anthem” that just doesn’t seem to fit in anywhere and thus feels disingenuous. We already took care of the rock call to power with the opening track, ‘Why Are You Not Rocking’, this album could have survived without a second one just fine.

We’re treated to a welcome change of pace with ‘Black Forest’ and, honestly, I wish the rest of album sounded more like this. Groovy, a little slower, with more depth to it than just trying to flex their “rock muscles” for lack of a better term. This mellow sound just seems to come more naturally to the band and makes it my favorite track on the album.

A mostly typical modern rock album, Sittin’ Heavy has its fuzzy moments that makes those instances stand out above the rest of the record. I’m sure their sound will continue to improve and they keep refining it.

6.5/10

ALEIDA LA LLAVE

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Brimstone Coven – Black Magic


Brimstone Coven Black Magic Album cover

Giving me a copy of Brimstone Coven’s Black Magic (Metal Blade) is liking giving an alcoholic a free handle. I was in. Let’s cut through the bull, I was digging this album within the first few seconds of listen. It’s got that spooky, fuzzy sound that turns me into a giddy child.

‘Black Magic’ and its bass line get things started on a groovy note, a throw back to the jams of the 60s and 70s when everything seemed to be enveloped in a haze and movement was just a touch slower. I keep playing this song over and over again and just can’t get enough of Andrew D’cagna’s bass playing. Give me, please. Don’t be surprised if you come across me dancing to this in the woods with some friends from beyond the veil.

Songs like ‘Slow Death’ make KISS to mind. They’re higher energy with a little less fuzz and prevent the album from getting monotonous. You also have that classic 70s guitar riffs and even John Williams’ vocals are similar to a slightly more subdued Starchild. It’s like a five minute trip back in time.

The second half of the album or so steers the listener away from the light and back on the road towards Spookyville with ‘The Seers’ and ‘The Plague’. The solo about three minutes in on ‘The Plague’ is spectacular and I am mildly in love with it despite my usual fascination with the bass side of things.

I’m calling it now; Black Magic will be one of my favorite albums of 2016. Give it a listen and discover something beautiful.

7.5/10

ALEIDA LA LLAVE

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The Darkness – Jennie Vee: Live at The House of Blues, Boston


The-Darkness-2015-Blast-Of-Our-Kind-Tour

Sunday Funday turned into Girls Night Out over the weekend when one of my best friends and I ventured into Boston to catch The Darkness. Everyone knows that you can’t have a real GNO without British men in tight pants…Or British men in no pants, as we would soon discover.

Jenny Vee, by Matt Lambert

Jenny Vee, by Matt Lambert

The only opening band was Jennie Vee. They sounded like something that you would hear in a coming of age teen movie. It would probably star Ellen Page or something. It was your typical pop rock, nothing groundbreaking or shocking. There was no way that they were going to be able to compare to the energy of The Darkness. Someone else might more interested in them than I was, their music just didn’t move me.

 The Darkness, by Matt Lambert

The Darkness, by Matt Lambert

I had not seen The Darkness since the Hot Cakes (Wind-Up) tour, where they played a small venue called The Paradise. That show had been absolutely insane and I had mixed feelings about them playing the House of Blues; I was glad that there was such a demand for them but I am also very selfish and like keeping bands to myself in tiny venues. Mine! Anyway, the boys opened their set with ‘Barbarian’ off of their latest record, The Last of Our Kind (Canary Dwarf Limited), before switching gears with one of my personal favorites; ‘Growing on Me’. You can bet I sang every word. Three other tracks off the new album appeared in the set, including; ‘Mudslide,’ ‘Roaring Waters,’ and ‘Open Fire’.

 The Darkness, by Matt Lambert

The Darkness, by Matt Lambert

I got lucky with a few other favorites of mine in ‘Every Inch of You’ and an extra long version ‘Love on the Rocks with No Ice’ complete with crowd interaction and another round of Justin-Rides-a-Fan in which Justin Hawkins plays guitar atop a tall crowd member as they make their way through the audience. Always amusing. Speaking of amusing, shout out to whoever kept demanding that Justin take his pants off because he definitely did. Go you, anonymous audience member!

 

 

 The Darkness, by Matt Lambert

The Darkness, by Matt Lambert

 

 

 The Darkness, by Matt Lambert

The Darkness, by Matt Lambert

So, there you have it, British men in tight pants, British men in no pants, it was a party. Listen, I might live and die by stoner rock and the 90’s, but I love the big hair and men in tight pants that come with glam rock. I will never apologize for that (much to my editor’s dismay).

 

WORDS BY ALEIDA LA LLAVE

PHOTOS BY MATT LAMBERT


Indian Handcrafts – Creeps


Indian Handcrafts Creeps album cover

Following 2012’s Civil Disobedience for Losers (Sargent House), stoner duo Indian Handcrafts release Creeps (Sargent House) to kick off the last quarter of 2015. I was first introduced to this band when they toured with Red Fang back in 2013. They were impressive as a two piece back then and have yet to let up.

The first few songs of the album are pretty good, as expected. However, it isn’t until ‘Maelstrom’ that things change and the music really grabs you by the literal and/or metaphorical nads. This is a great song that showcases just how talented this duo is. It opens with some guitars that throw you back to the eighties for a moment before morphing more into something that you would expect to hear in a new installment of Heavy Metal. It’s so heavy and fuzzy, I love it. Whether you’re banging your head or shaking what your mama gave ya, this track will make you move.

‘The Divider’ is another groovy, riff filled track. This is one of those songs that gives me a case of what the kids call the “feels” when things slow down around the three and a half minute mark. It hurts so good though. I would absolutely love to see this played live. Even without providing me with my beloved bassist, Indian Handcrafts still shreds creates a depth and warmth to their sound that is difficult to duplicate.

This album has a lot of catchy riffs sprinkled throughout it, but the second is where it takes on a life of its own, sprouts wings, and drags you along for the ride. That alone makes this worth a listen. At the very least, do yourself a favor and check out the two songs I mentioned above. Don’t forget to catch Indian Handcrafts currently supporting Kylesa on a tour date near you. See you in Boston!

7.5/10

ALEIDA LA LLAVE


Ramon Ortiz – Portal


Ramon Ortiz PORTAL CD cover 2015

Being stuck between three cultures is interesting, although also difficult at times. The metal and rock worlds always draw me back in but so do my Boricua roots so it really shouldn’t have been any surprise that I became emotional over a recording of Coquis singing. Like the saying goes; la sangre llama.

Today’s review is brought to you by the letter R, as in, Ramon Ortiz and his second album, Portal (Self-Released). Taking a look at the title track, ‘Portal’, has some groovy moments with a lot of weedly, weedly, woo. The chorus sounds like something that could have been featured in an action cartoon from the 80’s. I believe that it would be one that I would look back on with fondness.

At twelve and a half minutes long, closing track ‘Yukiyu II’ is a beautiful mix progressive metal elements with Spanish guitar and touches of Latin percussion. This is also one of the songs where you can actually make out the bass in the background every once in a while. The downside is that this eventually turns into your standard progressive metal track around the eight minute mark. It makes a slight recovery once you get to ten minutes before dropping off again soon after.

It may not be salsa or merengue but then again, Puerto Rico has always been a melting pot of cultures and music and Ramon is a great example of what can come out of it. I would have liked to have heard more Latin influences but maybe we get enough of that when Ramon’s running around with Puya. Personally, the albums highlights for me were the use of Spanish guitars. I may be biased, but I prefer Ortiz’s fusion style and this record has a bit too much of a general progressive metal record vibe to it. I was hoping for some more experimentation and expansion.

7.0/10

ALEIDA LA LLAVE


High on Fire – Pallbearer – Lucifer – Venomous Maximus: Live at the Royale


High on fire tour

A summer time Monday night found me at a venue that I had never been to before, the Royale in Boston, MA. It was a good size and actually pretty nice inside with a few large couches and suits of armor hanging on the walls. I’ve since been told that it doubles as a (dance) club, but it makes a fine metal venue as well.

 Venomous Maximus, by Evil Robb Photography

Venomous Maximus, by Evil Robb Photography

We kicked things off with a performance by a band new to me called Venomous Maximus based out of Houston. They are yet another one of those bands that deserves to be seen live rather than just compared to their studio recordings. Their studio work is your standard, run of the mill doom-y stoner-y heavy metal. On stage is where the band really starts to come to life. They’re energetic and the music itself is far heavier. A CD or mp3 doesn’t capture that. Next to the masters in High on Fire themselves, Venmous Maximus was the most entertaining band on the bill for me.

Lucifer, by Evil Robb Photography

Lucifer, by Evil Robb Photography

I was not a fan of Lucifer. They had been described to me as a sort of female-fronted Black Sabbath but I found them to be just another generic doom band and lost interest quickly. They did have a projector with some old films running which I’ve always thought can be a nice added touch. To be honest, I probably spent more time watching the movie than I did watching the band’s actual performance.

 Pallbearer, by Evil Robb Photography

Pallbearer, by Evil Robb Photography

I had a similar reaction to Pallbearer. I have plenty of friends that worship them, but they are just not my thing. I need something with a little oomph to keep my attention which I guess kind of defeats the purpose of what they’re trying to do but, hey, I need more fuzz and more grooves.

 High On Fire, by Evil Robb Photography

High On Fire, by Evil Robb Photography

High on Fire opened their set with ‘The Black Plot’ off of Luminiferous (eOne) and with me foolishly thinking that I would simply admire their performance from the back of the crowd in order to protect my injured wrist. By the end of their second song, I knew that I was nothing but a filthy liar as I ran through the pit and began snaking my way through the crowd towards the front row. Injury or not, I was there for a helping of Pike Juice and it wasn’t long before I found myself in front of Matt Pike yet again. As expected, the set was heavy with songs off of the last album including ‘Carcosa’ and ‘The Dark Side of the Compass’ which are two of my favorite tracks. I would have loved to have gotten ‘Bloody Knuckles’ again as it holds a special place in my heart but there’s always next time.

 

 High On Fire, by Evil Robb Photography

High On Fire, by Evil Robb Photography

 

 High On Fire, by Evil Robb Photography

High On Fire, by Evil Robb Photography

 High On Fire, by Evil Robb Photography

High On Fire, by Evil Robb Photography

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WORDS BY ALEIDA LA LLAVE

PHOTOS BY EVIL ROBB PHOTOGRAPHY


Uncle Acid And The Deadbeats – The Night Creeper


uncle acid night creeper album cover 2015

Uncle Acid & the Deadbeats release their latest album, The Night Creeper, via Rise Above Records in plenty of time for Halloween. I mention this because those psychedelic, doom-y tunes got me wrapped up in reading about Night of the Living Dead while listening to them. ‘Tis the season, after all.

‘Melody Lane’ kicks off with keyboards that I would normally despise, but find myself tolerating in this case. Even with the keys, this still manages to be one of the heavier songs on the album. The guitar solo that starts at about 4:27 is one of only a few on the album. The solo paired with a little more energy overall makes this song stand out to me more than others.

Title track ‘The Night Creeper’ is a great song that commands your attention and forces you to headbang and/or contemplate your entire existence. I have been under the weather lately so I took the latter path. As expected, the song is on the sinister side of things and excellently instills a sense of despair in the listener. I also find it oddly comforting, like a more grown up way to feed your inner goth kid and bring peace to that teenage angst from so long ago.

At just over nine minutes long, ‘Slow Death’ is a beautiful and relaxing piece. The slow tempo, minimal vocals, and sounds of falling rain make it sound like something right out of the sixties. It’s the kind of song that you can throw on at the end of a long day and just let fuzz consume your mind. Listen to it a few times and I think you’ll see exactly what I mean.

The Night Creeper is an album worthy of a place in your doom collection. It’s got all of the darkness and foreboding of regular doom but without putting you (me) to sleep. Keep your eyes peeled for Uncle Acid & the Deadbeats currently on tour with Ruby the Hatchet. See you in Boston!

7.0/10

ALEIDA LA LLAVE


The Atomic Bitchwax – Against the Grain – Goddamn Draculas: Live at the Middle East Upstairs, Cambridge, MA


atomic bitchwax tour

As a creature of the night, matinee shows have always confused me. What do you do with all of that extra time in your day? What is sunlight? That was future Aleida’s problem, present Aleida’s only concern was checking out some live music at one of her favorite venues, but enough with speaking in the third person.

I would like to give a special shout out to the traffic of Cambridge for adding on almost another half hour to my trip. I managed to make in time for The Under’s last song and a half or so, but what little I saw was fantastic. If what I have listened to since then is anything to go by, then I have every right to be bummed out that I essentially missed their entire set. I won’t make that mistake next time and I encourage others to follow suit.

Up next were homegrown rockers Goddamn Draculas who stood out from the rest of the line up due to the lack of stoner-y grooves in their sound. They were a little more red-blooded rock and roll with a touch of the eighties thrown in. I wasn’t sure how I felt about them at first but repeated listens have them growing on me. At the very least, I find myself intrigued by their brand of rock and roll and that song ‘Raise ‘Em Up’ is rad. I could throw that track on repeat easily.

This is a story about love at first at first riff. The boys in Against the Grain really made a great first impression and left me wondering how the hell I hadn’t heard about them sooner. Imagine taking some stoner-rock and stabbing it right in the heart with a needle full of adrenaline. Those riffs and grooves were calling my name from the very beginning. Can we just talk about the voice on that singer of theirs, Chris Nowak? The man’s got some serious soul. It’s been a long time since a band so new to me has grabbed me by the lady-nads like that and I highly recommend seeing them for yourself.

the atomic bitchwax gravitron

The Atomic Bitchwax has always been that one band that I’ve been wanting to see, but life always decides it has other things in store for me but not this time. I was supposed to be well out of state at a certain gathering of bizarre human beings in Richmond, VA, but last minute scheduling changes found me hanging around New England. Sometimes things just fall into place. It may have been a combination of sheer excitement and Chris Kosnik’s bass playing but I was in stoner rock heaven. If I’m to judge by the amount of hair flying around me, coupled with the applause, I’d say the crowd agreed with me. Studio recordings do not do this band justice. Yes, an album will still sound great, but it’s live where The Atomic Bitchwax really shine and have the chance to infect you with those grooves. You feel it in you bones and in your gut and listening to them after the fact simply cannot produce the same effect on a person. Get out there in the real world and see something amazing.

I may have missed this year’s GWAR-B-QUE, but it was an honor to spend an afternoon with some ridiculously talented musicians and I’m happy with how things turned out. As for future Aleida, she found herself at another show that very same night. All in a day’s work, kids.

WORDS BY ALEIDA LA LLAVE