I assume it’s easy to look back at the aughts and be dismissive of the entire decade particularly from the perspective of metal or punk fan. Nu-Metal was slowly being phased out as any goodwill from the previous decade had eroded and acts like Simple Plan and Good Charlotte made everyone realize that maybe the idea of Pop-Punk was a mistake. But those who kept their ear close to the ground knew better than to become jaded. Hard rock was alive and well and young bands were doing very exciting things. Young bands like Between the Buried and Me with their seminal Alaska (Victory Records 2005/Craft Recordings 2020).
Decibel Magazine’s flagship Metal and Beer fest in Philadelphia will host amazing bands, brewers and fans in 2020. Booked for April 3-4 at The Fillmore, and the lineup looks sick with full-album sets from Converge (playing 2001’s Jane Doe), Pig Destroyer (playing 2001’s Prowler in the Yard in full for the first time), and Napalm Death (playing a one-time-only set of 1990’s Harmony Corruption and 1992’s Utopia Banished), plus Mayhem, Satan, Night Demon, Haunt, Magic Circle, Un, and more TBA.Continue reading
Cloud Rat has something to say, and if you’re not willing to lend an ear they’re just going to play louder and faster until they get your attention. No, there are rarely any moments that allow for you to catch your breath on Pollinator (Artoffact Records) so know from the rip that these Michiganders intend to keep your head submerged in gray waters for about thirty minutes. Continue reading
What keeps Converge in the race these days? I don’t mean that as a slight or implying that they’ve lost a step, quite the opposite. More than 20 years into the game and each studio album have been tasked with following up the obelisk that came before it. We’re finally getting The Dusk in Us (Epitaph) five years after their last release. Am I disappointed? Hell no. Not everyone is in the business of following up All We Love We Leave Behind, or Axe to Fall before that.Continue reading
Converge released their new live album, entitled Jane Live, last Friday via Deathwish Inc, and if you’re still skeptical about buying it, be skeptical no more. Continue reading
Noticing Amenra would be doing an acoustic set on Saturday, it brought nothing but confusion since they are well-known for their vigorous, powerful live performances. Acoustic? Singer Colin van Eeckhout even admitted feeling very nervous at the beginning of the set. The band was sat in a circle in the semi-darkness of the stage, only slightly illuminated by beams of light. 013’s brand new main stage felt almost obscenely big for such an intimate setting. However, once they got started, this added a vibe of disconnection from the band that almost gave you a feeling you were watching something you weren’t supposed to see. They managed to find a way to play their 2009’s acoustic EP Afterlife so timid and delicate, that the crowd seemed to be in trance and didn’t wake up until their cover of Tool’s ‘Parabol’, which earned them a deafening applause. For their second set at the Afterburner, they were back to their post-metal selves, screeching, pounding and shredding in exactly the way we know and love them. Leaving us to timidly watch the ripples forming in our beers as if a T-rex came stomping by, while the magic from the night before faded to a distant memory.
An unexpected highlight on the Saturday was Brothers of the Sonic Cloth. Both captivating and furiously loud, their psychedelic visuals and droning music created the perfect setting for a lot of people to hang out on the floor of the main stage and take in the wall of sound the Americans produced. For those of us feeling more awake, progressive space-rockers Astrosoniq, led by a very Rock’n’roll looking singer, gave a more fast-paced performance in the Green Room. Walter, in official terms the artistic director of Roadburn, but in reality the true heart and soul of the festival, brought out his visuals to accompany Astrosoniq’s very psychedelic guitar riffs.
Roadburn 2014 favorites The Vintage Caravan showed up for a surprise gig at café Cul de Sac on Sunday. Well, I say surprise, but 30 minutes before showtime the venue was absolutely packed with people. There is only one way to actually see a band in Cul de Sac: be hella early. So we found ourselves snuggly between 150 hot and sweaty, hungover fans with no chance of reaching the bar or the toilets in the next hour-and-a-half. But boy, was it WORTH it. The Islandic rockers tried to drill out our hangovers with their heavy bass and guitarist Oskar‘s relentless headbanging let us forget that this was our fourth day at the festival already and we were supposed to be very tired.
The greatest thing about Roadburn must be the diversity of the people you meet. Surrounded by more foreigners than native Dutch, you usually leave the festival a couple of Finnish words wiser than you were before (none of which probably as innocent as they led you to believe). However, I’m not going to lie: people watching is right up there on my list of favorite pastimes, and there really isn’t a better place for it than Roadburn. Mainly because metal shows in themselves are beacons of creative and eccentric people. And Roadburn, well, that is the holy grail of metal shows. Amidst a goldmine of glorious manes and enviously long beards, there seem to be more crust punks than usual (thank you G.I.S.M and Converge) and of course every back patch under the sun.
One of the most spotted patches this year was obviously Neurosis. You’d think that playing two ’30th Anniversary’ sets would bring about its problems. After all, having a thirty-year spanning discography to choose from can’t be easy. Remarkably enough Neurosis managed to represent each and every one of their records during their shows, right back to their 1985 hardcore punk debut Pain of Mind. It is astounding to see how much they have grown and changed over the years, before they settled into their skin of a contemporary hurricane of genres, set to a baseline of doom. When the final tones of 1999’s ‘The Doorway’ sounded at the Afterburner, it left us with nothing but goosebumps, hands sore from clapping and a profound sense that 366 days are way too many to wait until the next Roadburn.
WORDS BY CÉLINE HUIZER
Out of all of the annual big name tours that hit North America, none have been as consistent as The Decibel Magazine Tour. On April 10th at the Royale in Boston, Decibel provided a diverse, yet exciting lineup of newcomers, Vallenfyre, one of rising stars in doom, Pallbearer, metalcore titans Converge, and the legends in the flesh, At The Gates.Vallenfyre, by Hillarie Jason Photography.
Kicking off the night was Vallenfyre who, even with an early set time starting at 5:30 in the early-evening, was greeted by a generous and excited crowd. With the Royale having a strict cut off time at 9:30 on a Friday night (I know, I know) the supergroup out of the UK only had time for a few quick songs. Having said that, they got in three songs from each of their albums with favorites such as: ‘Bereft’, ‘Cathedrals of Dread’, ‘The Grim Irony’, and ‘Splinters’. I will certainly be looking forward to seeing these guys again and so should you!Pallbearer, by Hillarie Jason Photography.
Pallbearer hit the stage next to destroy the crowd’s ears and emotions with a wall of sound via doom metal. Obviously in the doom world, songs tend to run a bit longer than your typical song to truly hold atmosphere and provide a mood. Due to this, we only got three songs from the foursome from Little Rock, Arkansas. Boston got to hear ‘Worlds Apart’ and ‘The Ghost I Use to Be’ from the latest release as well as ‘Foreigner’ from Pallbearer’s debut album. Get on the bandwagon for this band as space is limited!Converge, by Hillarie Jason Photography.
Next up to try and tear down the venue were local heroes, Converge. I will be honest and mention I have never truly been a big fan of these guys, but after seeing them live I think I like the taste of their brand of kool-aid. The adrenaline from the four men on stage had trickled down to the floor as fans started surfing right up and over the barricade to sing their favorite lyrics. The set list was very well constructed to allow for four tracks each from the two latest releases (All We Love We Leave Behind, Axe to Fall) and two tracks each from You Fail Me as well as the classic, Jane Doe. A few favorites heard were: ‘Dark Horse’, ‘Trespasses’, ‘Reap What You Sow’, and the closer, ‘Jane Doe’. I may not have known a single word to any of the songs played, but the sheer energy of this live set by Converge is enough to get me to come back for more.At The Gates, by Hillarie Jason Photography.
Lastly, the gods themselves, At The Gates, took to the stage. Even given the time constraints, the Swedish legends were able to punch out a set list of 19 tracks! Obviously with a new album out (At War With Reality from Century Media) I expected quite a bit of new tracks. In total, the Boston fans got seven from the new album, 7 from Slaughter of the Soul and a few others sprinkled in. Some favorites/sing-a-longs played were: ‘Death and the Labyrinth’, ‘Terminal Spirit Disease’, ‘Raped by the Light of Christ’, ‘Suicide Nation’, and of course, ‘Blinded by Fear’. Even after being apart for all of those years, At The Gates can still bring it and boy do they bring it all. Easily one of the better shows that will hit the Boston market in 2015!At The Gates, by Hillarie Jason Photography.
WORDS BY TIM LEDIN