Thursday, February 3, 2011

Trap Them, Black Anvil & All Pigs Must Die at Union Pool, Brooklyn


     It's been about a year since I've posted an entry to this blog.  The extended dry spell has nothing to do with a decrease in my interest in vinyl or attending shows (or my desire to write about them).  My life has been so hectic that it has been difficult to find the time to relax and make an entry.  Between establishing an intimate and wonderful relationship with my girlfriend, finishing up graduate school, starting a new corporate job  and the return and subsequent departure of my sister and her children, 2010 was a whirlwind of a year.  Despite all of my personal happenings, vinyl was purchased (Floor - Below and Beyond box set; Converge - Jane Doe reissue; Krallice - Dimensional Bleedthrough) and show were attended (Gorguts/Portal/Bloody Panda/Krallice at the Knitting Factory, Brooklyn; Eyehategod/Unearthly Trance/Tombs at Europa, Brooklyn; Floor/Gods & Queens at the First Unitarian Church, Philly).  Now that life has seemed to have temporarily relaxed, my pen will be put to paper as the vinyl spins and the extremity is delivered in the live setting.  Here's to hoping that 2011 will be a prolific year.

     My first show of 2011 took place on January 14, at Union Pool in Brooklyn and featured a vicious lineup of Trap Them/Black Anvil/All Pigs Must Die.  More about the show later.  Let's talk about the venue. Living in New Jersey definitely has it's pros and cons, and close proximity to Philly and Brooklyn is on the plus side.  Union Pool is located directly off of the BQE at exit 32 which is very convenient for those who drive to shows.  It's located in the uber hip Williamsburg section of Brooklyn.  In terms of the venue itself, it could very well be the most unique setting for a metal or hardcore show in NYC.  First, there is no sign outside the venue, so you could walk right by it and not know that it's there.  Upon entering, you're in a dark L shaped bar with a mediocre beer selection, a photo booth for the hipsters, a DJ spinning calypso music and Michael Jackson, etc.  If you can get passed that stuff, you'll notice a faint smell of chlorine.  The venue was once a pool supply shop, and some of the original mirrors and other decor from that old establishment persist which give the venue some character.  In the back of the bar is a door to a large outdoor area.  This section consists of a large fire pit (very desirable in the winter) and a taco van, if you can believe it!  The taco van, which is adorned with dancing skeletons and other cinco de mayo themed artwork, offers some of the best soft tacos I've ever had.  They also have burritos, nachos and Jarittos soda to wash down the delicious Mexican fare.  Needless to say, the line at the taco van is rarely short. 

     While outside you'll notice another set of doors which leads to the actual venue.  As you enter, there is a tiny lobby for ticket sales and merch which leads to the stage area and bar.  This standing room only location can occupy 100 people or less, which makes performances there very intimate.  As for the beer selection, it is similar to the offerings in the main bar.  As I walked in, APMD were setting up, so I decided to sit my thirsty ass down and have my first pint of the evening; a Sierra Nevada pale ale on tap.  Unfortunately, this fine Californian ale was flat!  Though disappointed, it didn't stop me from sipping as the night progressed.  Now for the show...

     APMD were first to hit the stage.  Their claim to fame is clearly the fact that their drummer is Ben Koller of the almighty Converge.  That is enough to hype up any hardcore/metal band, but they also include a members of Boston hardcore acts The Hope Conspiracy and Bloodhorse.   So did they live up to the hype?  Eh, sort of.  The bass player (who was wearing a sweet Hell Hammer shirt) had a punchy bass sound and kept up well with Ben Koller's energetic drumming which created and awesome rhythm section.  The guitar player's jangly riffs were kind of washed out by the power and force of the drum/bass attack, so overall they weren't very cohesive.  The vocalist (awesome Integrity shirt with artwork my the famous Stephen Kasner) sang with a straightforward yell style which was appropriate but not outstanding.  Integrity is actually a good starting point to describe the overall dirt-punk/hardcore sound of the band.  After announcing that it was their first show, everything seemed to make sense.  These guys have a lot of potential.  They just need to work out the kinks in the live setting and their individual performances might converge (no pun intended) into a formidable beast.

     Next up were local black metal dealers Black Anvil.  I've heard plenty about them and know they get a lot of shows in the area but I haven't had the opportunity to see them live yet.  They were formed out of the ashes of infamous NYHC veterans Kill Your Idols, but this new band bears little resemblance to the hardcore punk of KYI.  These guys definitely have the black metal look down pat: one guy had a sick Celtic Frost shirt, they were clad in all black (is there a darker color?), long flowing black hair, bullet belts, intimidating stage presence, etc.  So was their performance style over substance?  Yes and no.  Black Anvil have there moments, don't get me wrong.  At times, the loathing spewed forth from the vocalist sounded like Johnny Morrow (RIP) of Iron Monkey, which is a good thing.  The band's thunderous attack is best when played fast and melodic.  At those times they are catchy and super entertaining.  But almost half of their songs were long, mid paced plodders, almost like a weak version of Bolt Thrower.  I did see a few people yawn and someone scroll through their smart phone during those tracks which means they shared my sentiment.  Not much else to say about these guys except to reiterate that they are middle of the road. 

     Prior to Trap Them's set I decided to refuel with a shrimp taco (ah, the stuff of life) and a Newcastle brown ale.  The heavy malt of the classic English brown complimented the flavorful salsa verde quite well.  With my hunger now satisfied I made my way back into the venue for the headliner.

     I'm going to come right out and say that Trap Them is some really good shit, especially live.  They are kind of like a complete package: the buzz saw guitar tone of Brian Izzi coupled with the rasped bark of Ryan McKenney and the confident dirt-sludge attack of bassist Stephen LaCour is a true force to be reckoned with.  The set consisted of tracks from most of their back catalog including a few off their new album, Darker Handcraft, which is to be released by Prosthetic Records in March.  Whether old or new, all tracks were played with a ravenous hunger for filth.  A pit understandably broke out (none were present for the other two bands), much to McKenney's delight.  At some point towards the end of the show, blood started gushing from his forehead and I'm not sure if it happened intentionally or not.  Either way, it made his appearance extra seedy and dangerous.  My only complaint about the band's performance is that it was too short.  We all could have used at least 2 -3 more songs.  With that aside, the headliner was clearly the standout performance of the night.

     Overall, it was an enjoyable evening of extreme music.  I'm looking forward to my next trip to the Pool, which never fails to entertain.  The next two shows on my calendar are Eyehategod/Misery Index/Black Anvil/Strong Intention at Johnny Brenda's in Philly on 2/16 and back at the Union Pool again on 2/12 for Doomriders/Sweet Cobra/Unearthly Trance.  Stay metal, cheers!

Sunday, January 31, 2010

Castevet - Stones/Salts






Artist: Castevet


Title: Stones/Salts


Format: 7"


Color: Clear


Pressing History: 300 (1st press)


Label: Paragon Records



Review: There have been so many amazing black metal influenced bands coming out of New York lately such as Unearthly Trance, Tombs and Krallice. Add the simply jaw dropping Castevet to that fine group of bands. On their first official release, Castevet (featuring ex-Anodyne bassist J. Scott) offer two tracks on a clear colored 7". The first track, Stones, is dissonant and claustrophobic; blackened yet not quite black metal. The band is informed by both metallic hardcore and black metal. Their sound is busy and unrelenting. The hooks come but they don't last long which works wells since it makes the tracks fluid. The rhythm section is amazing but the only complaint I have would be the vocals which lack dynamics. Salts continues the blackened assault with a triumphant and melodic piece towards the end of the track. These guys are for real; they know what they are going for and they've achieved it. The packaging is minimalist (one page insert) but effective. At a mere 300 copies pressed, this release is highly limited and the clear vinyl just sweetens the deal. As for artwork, it's simple but fitting and it's my interpretation that the images match the song titles: the front image is of an icy and twisted wind swept plane (salts) and the back is an image of a gloomy rock face (stones). A fine release overall by yet another standout act from NYC. Music : 2 stars; Package: 2 stars. Overall: 4 out of 4 stars.



http://paragonrecords.org/

Thursday, January 21, 2010

Live Review: Nile/Immolation/Krisiun at the Trocadero, Philly



Lineup: Nile/Immolation/Krisiun/The Dreaming Dead/1 other opening act
Date: 1/17/2010
Location: The Trocadero Theatre, Philadelphia, PA

Review: The night started off well with yet another trip to my favorite Philly eatery, El Fuego. If California style burritos are your thing, then you’ve come to the right place because El Fuego is simply outstanding! After my vegetarian black bean burrito with a negro modelo to wash it down, I fought the rain and lack of parking to Arch street in city center to find the Trocadero Theatre. It was worth the struggle just to witness the beautiful architecture and stained glass of this former ballroom and member of the NRHP. Built in the late 19th century, the building is a sight to be seen and has amazing acoustics that just don’t exist in today’s modern venues. Add decent beer on tap at the bar, and this show had high potential….

First up was a local deathcore act, the name of which escaped me. Not that it really mattered since their brand of new-jack death wreaked of style over substance. When not one but two members of your band have 3” gauges in your ears, you’re making a statement that says that you worship at the altar of The Acacia Strain, Emmure, etc. I applaud them for their enthusiasm and energy but please go home and listen to Left Hand Path, Need to Control and Considered Dead and then come back to me with a full report.

The deathcore was followed with a The Dreaming Dead, a melodic death outfit from LA. Consisting of a 1:1 ratio of men to women was refreshing, as was their sound. Lead vocalist/guitarist Elizabeth Elliot could give Angela Gossow from Arch Enemy a run for her money. Equally impressive was the basswork of Juan Ramirez, who built a technical framework that lifted the band to majestic heights. Many a long-hair in the front row reacted with windmill upon hearing their infectious and tightly played tunes. Needless to say I’m looking forward to seeing them again and potentially purchasing some of their material.

At this point I had at least two more beers in me (a Harpoon IPA and a Guiness, if my memory serves me correctly). To get through the Brazilian death dealers Krisiun’s set, I may have needed more alcohol. Not much has changed since I last saw them back in 2001: yes they are brutal, dark and super fast. But that’s about it. The shtick gets old fast, and even the dudes in the pit (including the guy wearing the mo$h mother fucker shirt) were staring at each other after a few tracks wondering if the song they were hearing was already played. Though his English may have improved a little, the front man exclaimed, “give the fuck up for your Immolation!” That was probably their most entertaining moment. The dry and tedious sound just exacerbated my anticipation for Immolation to take the stage.

A quick note about the crowd should be added too. Philly was definitely in effect that night and they brought their death metal fiends out of the woodwork. There was one dude who I though had an inverted cross burned into his forehead in praise of Glen Benton, but it actually turned out to be a dent in his skull! As for the pit, there is always a ‘pit boss,’ and tonight was no exception. The ruler of the pit award goes to a 6’4”, 250 + lb. American Indian dude who basically just pushed people out of the way. The circle pit went around him and he exiled those who got out of line back into crowd. Also worth mentioning were two dudes in the bar section (21+) who looked like Dieter from SNL with leather jackets and Megadeth and Amon Amarth shirts underneath, respectively. From their skinny wire rimmed glasses to their tight black pants, these guys wreaked of teutonic metal fandom. The best was their response to every band: gyrating disco-like dance with their hips shaking! Needless to say it was a sight to be seen.

Back to the music, NY’s Immolation stormed the stage next. It has been a while since I’ve seen these masters of true evil and brutal mastery. Their brand of anti-Christian hate filled death metal is always a treat in the live setting, and tonight was no exception. They were tight, technical and on point as was expected. A few new tracks off the upcoming album, Majesty and Decay, were performed to much applause by the crowd. Classics like No Jesus, No Beast and others were executed with finesse and expertise the likes of which could only be done by a world class death metal band. True hails to an amazing performance by one of the finest extreme acts to ever take the stage.

Finally the backdrop I’ve been staring at all night was embraced by the Pharaoh loving Nile. Since the last time I saw them, guitarist/vocalist Dallas Toler-Wade has shaved his head and Karl Sanders seems to have put on at least 50 lbs. Now that Don Decker of Anal Blast has passed away, Karl is a clear front runner for most rotund member of a death metal band. That aside, they performed well while playing many songs of all their albums and a few new tracks of Those Whom the Gods Detest. Drummer George Kollias (ex-Nightfall) particularly stood out with an outstandingly technical performance. His massive kit (I think I counted 7 toms) was put to full use a la Brandon Thomas or John Longstreth. Sanders’ considerable heft added extra bottom end to his thick backing vocals which came across very well. The incorporation of samples and Lovecraftian meets Egyptian effects from their laptop added to the dark atmosphere and enhanced their sound and stage presence. Overall they were excellent and did not disappoint.

The death was dealt well this evening, despite a few bumps in the road. Philly never lets me down, and tonight was no exception. The Trocadero was an amazing venue and I’ll jump at the chance to come back. Hmmm, is that a flyer for Voivod/Kreator/Nachtmystium I see…cheers!

Tuesday, January 20, 2009

Portal - Seepia











Artist: Portal

Title: Seepia

Label: Crush Until Madness

Format: Pic Disc

Pressing History: 1000

Review: Seepia is the first full length album from Australia's otherworldly Portal. The sound is a little more pimitive than their latest effort, Outre, which has a much better production to capture their blackened cacophony. That's my only complaint, and I really shouldn't complain since this band is on another plane in terms of death metal. No band on the planet can touch the unsettling atmosphere that they create, possibly with the exception of Immolation. Portal is lightyears smarter than Immolation in terms of aesthetics though, as you'll see from the artwork and packaging. Let's just say that if the film Begotten had a death metal soundtrack, this would be it. Seepia may be a little to avante-garde for the average Deicide fan, but if you are into the experimental side of extreme music, pick this album up right now! Overall, 2 stars for the packaging and 2 more for the music: 4 of 4 stars.























Tuesday, January 13, 2009

Black September/Thou - Thrive and Decay











Artists: Black September and Thou

Title: Thrive and Decay

Label: Various Labels

Format: Split 7"

Pressing History: 500 Black

Review: On side A, Black September offer Enter the Rising. They play a sort of black and roll that is very noisy. Not really my cup of tea, but they have potential. On side B, Thou hit hard with Smoke Pigs. Think of a Black Sabbath worship, not unlike Warhorse or Iron Monkey at their grooviest. This track is killer, and I'm looking forward to hearing more from them. The artwork is dark, brooding and well done. We're treated to black and grey colors with images of withering trees and someone being choked to death. This piece is rather limited too at only 500 pieces. Overall, one star for the music and two for the package: 3 of 4 stars.