We were back at the Worcester Palladium for the massive fall tour co-headline tour of Municipal Waste and Napalm Death, with Sick Of It All and Take Offense as support! The venue had been home to the annual Rock and Shock all weekend, “3 days of Metal and Horror”. The weekend had already seen the likes of Korpiklanni, Eluveitie, Revocation, with locals like Vivisepulture, and Ice Giant (Day 1) and Day 2 was dominated by the folks over at Psychopathic Records with the Insane Clown Posse and all their friends as well, with a few local bands opening on the second stage upstairs. Continue reading
How does one classify Four Loko? It’s certainly not beer; it tastes far too good for that. It’s not vodka; it’s got the telltale fizz and lack of gasoline aftertaste. It’s certainly not whiskey because it doesn’t taste like hellfire. I’ll just say that it’s the blood of Dionysus and leave it at that. Boy, is it good. Especially if you haven’t eaten, then it just goes straight to your damn face. So in the entirely wrong mindset I went to see Between The Buried And Me. In a familiar moment of brilliance I realized that every band on this tour has the word ‘the’ in their name. Wow. The definite article is king. Some grammarian make a punny joke about that. I digress. This show was also the kickoff night for the 10th Annual Rock and Shock Festival The Palladium puts on.
There was no question about my attendance with this one right here. I had the funds, I had the time, and I still have a huge space in my heart for these North Carolinian wizards whose music is like off-Broadway musicals meets Opeth meets Pink Floyd meets Cave In meets João Gilberto meets Dream Theater if they were good meets Botch meets Freddy Mercury. It’s a clusterbomb of influences that all somehow manages to make writing twenty minute songs excusable in my mind.
But for the openers, because a good review is chronological, should the universe allow me to experience it in such a fashion, and it normally does. The Safety Fire from London (like you didn’t assume they were already, because I sure did and I was right) were an okay primer for what was to come. They play a relatively inoffensive kind of prog metal meets metalcore and some poppy-esque sensibilities. This we call ‘djent’, usually, but some people would rather me not. If I see a duck, I’ll have to call it a hang-glider, which I suppose is technically correct if you feel like a duck while hang-gliding. Don’t be obnoxious to wildlife.
After that little musical handy wrapped up, The Contortionist, now officially rollin’ [blunts] with Mike Lessard of fellow progressive and high-minded –in both ways– Last Chance To Reason, stuck entirely to their mind-blowing new album, Intrinsic (eOne), which just about raised the bar on everything they’ve done on Exoplanet, which was marvelous in its own right. It’s like if elevator music were heavy, but in the best way one could possibly mean it. Simultaneously light, airy, and melodic, yet crushing at a moment’s whim, without the gaps and awkwardness that could come from a lesser band trying to transition from asteroids colliding to doing heroin on an armchair. Hearing ‘Cortical’ live was just too good of a treat, and I hope that while they bring back the oldies on future tours, they keep dazzling my ears with their introspective steaze.
The Faceless have dropped into odd territories with their latest album, Deconsecrate (Summerian), and have essentially become the fat fedora atheists (FFA’s) that one oft encounters vomiting pseudo-intellectual babble onto a forum somewhere, and making themselves hard to agree with even if you share their general viewpoint. I’m all for hailing science, but I wouldn’t write a song or make a shirt about it. But despite this, I’ll always still hold a soft spot for The Faceless on the basis that their first two releases were just sooooo good. And ‘The Eidolon Reality’ was a pretty killer track before it was fucked with until the chorus was so unrecognizably cut up by the dull blades of an overzealous audio technician that it is now the audio equivalent of Joan Rivers’ face. And in that statement I believe I am somehow implying that there was ever any good to be found in JR’s mug to begin with. Other than that, I just found myself patiently appreciating the actually heavy parts of the new songs and reveling in nostalgia during ‘Coldly Calculated Design’ and ‘Xenochrist’, but still sad to see a band I once obsessed over become just an auxiliary band that will play second hurdy-gurdy to something I’m actually stoked on.
And how could one not be stoked on Between The Buried And Me, who are probably one of the three metal bands out of North Carolina that aren’t sludge or doom? Busting out the entirety of Parallax 2: Future Sequence (Metal Blade)? Why yes, I’ll come down and peep that right quick. There’s no such thing as a ceiling when it comes to BtBaM’s sound. It will always continue getting weirder, and the concepts progressively more spacey. They are spacemen. At least I say they are. It’s a marvel that they do this without prolonged exposure to LSD and/or shrooms or just really potent weed. Regardless of nonexistent narcotics, they’ve still got grandiose compositions swirling around in their collective head, with enough artistry as warrants growing a scraggly beard and maintaining a mellow aura despite the music being a mad mix of progressive death metal, hardcore, and cosmic soft rock textures that would send any lesser man cackling into a garret. Scoff with thinly veiled derision if thou may, but taking this whole (awesome) new album to the face in a live setting has just reminded me how much I love these guys. From the metalized surf of ‘Bloom’, to the power-bombing breakdowns of ‘Telos’, the epic headbang territory of closer ‘Silent Flight Parliament’, etc. etc. I’m going to not nerd out, here. It was a good show (great show, even), and we’ll leave it at that.
Between The Buried And Me on Facebook
The Faceless on Facebook
The Contortionist on Facebook
The Safety Fire- on Facebook