Saturday, May 29, 2010

Brief Blasts in Paragraph Form: Part IV

Here’s yet another fast look at more full-lengths (and a demo) that have been sitting in my “to (eventually) review” pile for quite awhile.

Soreption Deterioration of Minds



(Ninetone Records)

Soreption are a blatant rip off of technical wankery bands such as Necrophagist, Gorod, and the like. Like most of the bands in this subgenre of death metal, the music is exceptionally well played in a technical sense with plenty of rapid fire, all over the map riffs, noodling galore, huge bass lines, you name it. Also, like most of the bands playing in this genre, the music completely lacks any emotion, is wholly soulless, and adds absolutely nothing new. If you must insist on finding ways to tide yourself over until Suicmez gets up off his ass and decides to issue another full-length, I suppose that Deterioration of Minds will do.

Soreption MySpace

Nechochwen Azimuths to the Otherworld



(Bindrune Recordings)

Completely switching gears, Nechochwen are a highly progressive, almost folk, band only briefly flirting with ecologically themed black metal in the vein of giants such as Agalloch and Wolves In The Throne Room. Although periodically heavy with rough vocals and even an all out blast or two, Nechochwen’s main focus is upon quiet, acoustic guitar, clean vocals, and spoken word interludes. The result is a very clean version of the aforementioned bands and Nechochwen fit in perfectly with the ecological themes present in most of the music of the Bindrune Recordings’ band roster. The songwriting and musicianship on Azimuths to the Otherworld is exceptional, and this album comes highly recommended for those looking for the quiet, folk/ progressive fringes of mild, ecological black metal.

Nechochwen MySpace

Ares Kingdom Incendiary



(Nuclear War Now! Productions)

Here’s an interesting take on blackened death metal. Ares Kingdom’s second full-length, Incendiary, appears on Nuclear War Now! Productions at about the same time as that Kerasphorus’ monstrous debut EP, but Ares Kingdom take a slightly different spin on blackened death metal. Unlike the balls out approach taken by Kerasphorus, Ares Kingdom slow things down a bit, add some groove, toss in some dirty thrash metal reminiscent of the 80s, and even pay meticulous attention to guitar solos with a melodic, almost NWOBHM-ish, bent. Like Kerasphorus, Ares Kingdom contain grizzled alumni from Order From Chaos, and definitely have an old school approach to their attack. Great cover art from a WWI- era American painting further adds to the cred.

Ares Kingdom MySpace

Embers Wrath



(Self released two-song demo)

Here’s a look at a demo that I should’ve included in the last post. Wrath is a two-song demo from Embers, a five-piece from Oakland playing a mix of black/ doom metal with mild symphonic and melancholic touches. The gritty vibe is similar to that of Chicago’s Black September, but there’s a great deal of variation going on in only two songs. Nominally black metal in the way that Ludicra are described, Embers use piano and violin to foster a melancholy approach, as well as employ a few traditional black metal elements. Check out the second track, “Awakening,” in particular, as a good example of the varied approach. Incidentally, the band’s attention to detailed artwork and calligraphy is outstanding.

Embers MySpace

Wuthering Heights Salt



(Sensory Records)

Here’s something that’s definitely not my thing, but is pretty well done, nonetheless. Denmark’s Wuthering Heights, with whom I’m not familiar prior, play an up-tempo, melodic and progressive form of power metal mixed with folk elements. Before you roll your eyes, though, Wuthering Heights manage to avoid all (almost) of the cheesy clich├ęs usually associated with the power metal genre on Salt. Using the eternal struggle of mariners to overcome the random nature of the sea as a thematic muse on Salt, Wuthering Heights write catchy songs with tempos reminiscent of the speedier pagan bands. Although not my thing, I do appreciate this mature approach to power metal with thoughtful lyrics drawing from Shakespeare (“The Tempest,” I presume), and an album layout worthy of the gritty subject matter.

Wuthering Heights MySpace

OK, this time I'm serious...

Wednesday, May 26, 2010

Brief Blasts in Paragraph Form: Part III

Here’s a quick look at a bunch of wildly different EPs/ singles/ splits/ what have you…

Kerasphorus Cloven Hooves at the Holocaust Dawn



(Nuclear War Now! Productions)

From the ashes of Angelcorpse and the absolutely atrocious Of Lucifer and Lightning comes Cloven Hooves at the Holocaust Dawn from Kerasphorus. Angelcorpse founding member Pete Helmkamp returns with this new outfit, this time around a trio from the Bay Area. Playing a hybrid of blackened death metal, Helmkamp sounds absolutely fucking reinvigorated with Cloven Hooves at the Holocaust Dawn, a four-song EP from Nuclear War Now! Productions.

Four blistering songs with pulverizing riffs, all out speed, rough production, you name it, Cloven Hooves at the Holocaust Dawn is a pissed off, highly fueled snarl of rage; that is, everything that Of Lucifer and Lightning wasn’t, right down to a monochromatic album cover. No yellow this time around! Buy or fucking die!

Nuclear War Now!

Burden Man of No Account



(Van Records)

Next is a two song single entitled Man of No Account from Burden, a five-piece from Germany. You’d never know it, though, as Burden are basically just a Down clone, and not really a very good one at that. The two songs here are hard rock oriented Southern metal, but with more than a few nods to Black Sabbath and commercial viability; that is, Down. Unlike Down, however, Burden are adequate songwriters at best and, although well played, Man of No Account is pretty quickly forgotten.

Burden MySpace

Shroud Eater Self-released three-song demo



Shroud Eater are a trio from Miami playing a sort of stripped down, raw version of stoner metal with some rough production and a healthy dose of sludge on their three-song demo. I’m sort of reminded of the recent output from Howl by Shroud Eater, but Shroud Eater are a bit more up tempo and vaguely flirt with post metal overtones. Investigate for yourself.

Shroud Eater MySpace

Dodsferd/ Mortovatis spilt Until Your World Go Down



(Moribund Cult Records)

Here’s a split between Wrath and himself. Wrath, the brains behind Dodsferd, has been a bit all over the map lately with his last few albums. Starting out as a straight up, fast raw black metal act, Dodsferd has also veered into territory as diverse as blackened punk n’ roll and droning, low-fi black metal with songs hovering in the 20-minute plus range. In short, Wrath seems to be trying out different styles for his creation with releases coming out at an ever-increasing rate.

Wrath appears twice on a new split between Dodsferd and his new creation entitled Mortovatis. There are three tracks from Dodsferd, two of which are unreleased originals in the punkened black n’ roll style. The third track is Dodsferd performing “You Called It Resurrection…” from Cursing Your Will To Live live on stage with session musicians. Although the recording is poor, the raw energy inherent in Dodsferd really comes out in a big way in a live setting.

Wrath’s new project, Mortovatis, continues in the same vein as what he explored on Suicide and the Rest of Your Kind Will Follow, the last full-length from Dodsferd. Raw black metal of the droning, slow-paced, low-fi variety is the bread and butter here, but with plenty of screeching guitar distorted effects tossed in for good measure. The effect works well enough, even stretched out for about 20 minutes. Also, an album cover with astronomy motifs is always a big plus in my view.

Moribund Cult Records

Hawkwind Triad Split



(Neurot Recordings)

Hawkwind Triad is actually a three-way split of Hawkwind cover songs by the bands US Christmas, Harvestman, and Minsk. All three bands contribute to a total of eleven songs on the split with the songs being ordered to flow in a coherent manner, rather than just being split into blocks of the three groups. Ordering the songs in this way is a good choice as the result feels like a complete album. Certainly, if you’re into Hawkwind, you probably can’t go wrong with this split, and the cover art is suitably surreal.

Neurot Recordings

Kings Destroy Self- released two- song 7”



Kings Destroy are a stoner/ sludge outfit from New York consisting of veterans of the NYHC scene. The two songs are a mix of stoner and sludge with influences from bands such as YOB and the Melvins. The riffs are good, the vocals are delivered with a nasally inflected snarl, and both songs are decent enough. A full-length is expected later this year.

Kings Destroy MySpace

Crimes Against Humanity split



Crimes Against Humanity Records issues an introductory three- way split of bands signed to the label’s roster (I’m not familiar with any of the bands prior to hearing this split). First up are DesolateVoid with five songs. Crust/ punk from Wisconsin, DesolateVoid play with energy and an up tempo rage. Crossover somewhat reminiscent of classics such as Attitude Adjustment and the like come to mind.

Last Van Zant from Greenville, South Carolina are up next with five songs of crust/ punk, but mix up the tempos nicely with a few mid-paced dirges tossed in for good measure and sort of come off like Eyehategod. The slower tracks are more concerned with riffs, rather than just tearing your head off and provide variation.

The Parish (featuring a member or members of Wartorn) are last with two songs of stoner/ sludge as opposed to the crust/ punk from DesolteVoid and Last Van Zant. The vocals are quite deep seated, as is the production. The result is almost a sort of up tempo doom, particularly with the final track, a sprawling 10-minute plus opus entitled “Dark Days.” Good stuff all around, and I was most impressed by The Parish.

Crimes Against Humanity Records

That’s good for now...

Recently reviewed…

The Ruins of Beverast Foulest Semen of A Sheltered Elite



Nightbringer Apocalypse Sun

Sunday, May 23, 2010

Only Death Is Real



Only Death Is Real: An Illustrated History of Hellhammer and Early Celtic Frost: 1981-85 by Tom Gabriel Fischer with Martin Eric Ain.

(Bazillion Points)

Treatises examining metal as a cultural phenomenon from a sociological or anthropological view, until very recently, have only been done from an outsider’s perspective. Works from DePaul University sociologist Deena Weinstein (Heavy Metal: The Music and Its Culture), and the rather infamous tome from Didrik Soderland and Michael Moynihan (Lords of Chaos), though fascinating, are largely ignored by many that are only interested in an insider’s perspective. Sam Dunn’s recent, very well done documentaries from an anthropological, yet rabid fan’s perspective have only fueled our desire for professional, insider examinations of the history and culture of our chosen art form. Ian Christe’s publishing house, Bazillion Points, is satisfying that desire with high end publications.

Although Hellhammer and Celtic Frost are predated by Venom, artistically, there’s no question that Tom Gabriel Fischer’s creations elevated black metal to a much higher form. Hellhammer and Celtic Frost are the creative wellsprings from which many of metal’s extreme subgenres originate; therefore, Fischer, already a published author, is perfectly situated to explain his artistic history and muse to metal at large.

Only Death Is Real is a sprawling, beautiful work with over 50% of the book devoted to the chronicling photography of Hellhammer and early Celtic Frost, much of it seen here for the first time. In addition, the final portion of the book is devoted entirely to the early artistic work of Fischer and Ain as they conceived and built the calligraphy and graphic designs associated with Hellhammer and Celtic Frost. Pencil drawings, beautiful ink fliers for Prowlin’ Death Management/ Promotion, logos, demo tape inserts, you name it, all of it is here and in gloriously large print on high gloss paper.

Fischer’s prose is distinctly Old World and comes from someone who learned a more formal English as a non-native speaker. At times, his prose can be a bit heavy-handed and formal, almost Victorian. However, his choice of style adds a great deal of weight and seriousness to the issues at hand; that is, the tumultuous early history of Fischer’s muse and art.

The narrative begins when Fischer was beginning the apprenticeships that working class Swiss enter after secondary school. Fischer details his troubled upbringing and broken relationships with his divorced parents, particularly his mother. The familial events of his youth coupled with the conservative, religious rural society that served to suffocate him and his small circle of friends is the staring point for his misanthropy and frustrations. These searing personal accounts, and how the horrendous conditions fueled Fischer’s desire to produce extreme art are, by far, the best passages of the book as insight into his character and muse becomes most transparent.

Although not seemingly well educated in a formal sense, it is obvious that Fischer is a very intelligent and ambitious individual with strong personal convictions and an absolutely unfailing lack of fear in his almost single minded determination to bring metal into extreme and artistic realms never before imagined. What is almost astonishing is that Fischer is, at best, a neophyte as a musician when he begins his quest.

The quest begins with the formation of Hellhammer and the events leading to the production of two demos and the legendary EP, Apocalyptic Raids. The frustrations with musical inadequacy, the never-ending search for a stable lineup of musicians, and the lack of dedication to (and almost palpable fear of) the cause by just about everyone other than Fischer is documented in painful detail. The painful decision to let Steve Warrior (Urs Sprenger) go from the band, obviously Fischer’s best friend at the time, is particularly poignant. Equally poignant is Sprenger’s honest recognition of his shortcomings as a musician and subsequent decision to give up music entirely.

Astonishingly, Hellhammer’s signing to upstart Noise Records does little to alleviate the problems. A stability of sorts is gained with the recruitment and addition of Martin Eric Ain, who adds his own personal touches as a young man emerging from a painful adolescence and a domineering mother. But Fischer indirectly lets it be known that he is never entirely satisfied, perhaps even with Ain.

A particularly fascinating moment is glimpsed when Fischer, quite tentatively yet boldly, contacts the renowned surrealist H.R. Giger, who, almost miraculously, responds to Fischer’s entreaties for collaboration. Given that Giger is already an Oscar winner by this time for his work on Alien, and Fischer is barely twenty and has not yet built a name for himself, this contact is a veritable coup, further elevating metal into the realms of serious art (a rarity, let’s not kid ourselves, certainly to this day).

The travails eventually become too much for Fischer and Ain, as Hellhammer falls apart and Celtic Frost is born. Although the artistic leap is great, the same pitfalls befall Fischer and Ain as those that frustrated Hellhammer, yet they finally persevere with the release of Morbid Tales. The book ends with the addition of Reed St. Mark, an American, on drums.

After reading, I went back and listened to Hellhammer’s two demos, Death Fiend/ Triumph of Death and Satanic Rites, from the Demon Entrails compilation (Century Media Records). Death Fiend/ Triumph of Death, though primitive, is obviously influenced by NWOBHM and sounds almost melodic at times. Fischer’s early vocal style is even reminiscent of early King Diamond from the demo days of Mercyful Fate (listen to "Death Kiss," an early version of "A Dangerous Meeting," and a distinct similarity is discernible). As chronicled in Only Death Is Real, the stylistic change from Death Fiend/ Triumph of Death to Satanic Rites is much more pronounced than that from Satanic Rites to Apocalyptic Raids, as the raw power of Satanic Rites resonates to this day. Demon Entrails becomes, along with the glorious debut from Triptykon, an essential companion piece to Only Death Is Real.

Needless to say, Only Death Is Real is a must have for serious devotees to extreme metal, as the art form’s painful birth is detailed within Fischer’s pain, muse, and prose. I am left wondering, though, if Fischer has attained any sort of peace with his tumultuous past, and whether he was able to reconcile any relationship with his estranged family.

I await a performance from Triptykon in Los Angeles.

Special thanks to Cosmo Lee.

Links

Only Death Is Real

Buy at Bazillion Points

Monday, May 17, 2010

Tributes to a giant...



(picture from MSNBC)

Tribute from The Dragon of M87:

I’m quite sad to hear that Ronnie James Dio has passed away due to stomach melanoma. My own personal connection to Dio’s art goes back to one of the first vinyl records that I ever purchased; that is, Mob Rules by Black Sabbath in late 1981. I soon followed up with purchases of Heaven And Hell and, later on, Live Evil (still to this day one of the best live metal albums ever produced). I was quite demoralized when Dio acrimoniously split with the remaining members of Black Sabbath after the Poplar Creek show in Hoffman Estates, Illinois, at the conclusion of the Mob Rules touring cycle (unfortunately, I was still a bit too young to attend).

I was a huge fan of the first two solo albums, but soon lost track of his output afterwards when I discovered the heavier forms of metal that dominate my listening habits to this day. I always did, however, keep an eye on what Dio was doing, and was ecstatic and then subsequently disappointed with the announcement and release of Dehumanizer (I have to say that I've never really liked that album).

When the Dio-fronted Black Sabbath reformed in recent years as Heaven And Hell, I finally had my chance to see Dio perform in concert not once, but twice, most recently on the Metal Masters Tour in August of 2008. I am glad that I was able to finally see the legendary vocalist in concert, and was distressed to learn of his terminal illness.

Dio always struck me as a very gracious person, and a good-hearted ambassador for metal. He was an articulate defender of and spokesperson for our art form, and he just seemed to be an all around good guy. Sam Dunn’s Metal: A Headbanger’s Journey, in particular, demonstrated what a genuine person Dio seemed to be, and reminded me in recent years of how important Dio has been to metal. He will be missed.

R.I.P. Ronald James Padavona

Although of really crappy quality, here's a brief clip of Heaven And Hell from deep in the rafters of the Forum in L.A. from a couple of years ago...



Tribute from Skull:

I went online early this afternoon to discover that a Heavy Metal icon has sadly fallen off the edge of the world. Ronnie James Dio’s incredibly powerful and unique voice will be sorely missed and his contributions to the young and ever growing metal world will always be valued and respected. Everyone who flashes “The Horns” will now (arguably) be doing so, even if oblivious, in tribute to Dio’s incorporation of his grandmother’s cultural hand gesture (editor: the band Coven were the first to use the symbol on stage, I think). Originally intended to ward off the evil eye, the gesture has evolved into a universal metal symbol of support and camaraderie.

As much as I enjoyed Dio’s work in Rainbow and his successful solo project, his biggest impressions upon me were his two initial releases with Black Sabbath (Heaven and Hell and Mob Rules) as Sharon Osbourne’s handpicked replacement for Ozzy. Dio broke Sabbath’s lead cast mold and helped send the band into new territory. These two mammoth records hit the scene in my early junior high years and are now seared into the soundtrack of my life. I even had a “Mob Rules” jersey (which was the popular style at the time) that I wore with great pride and on special occasions like dances, parties, and concerts. Both of those incredible albums are still in semi-frequent rotation with me now.

Regrettably, I never got to see Ronnie James Dio perform live early on, and I passed on the Heaven And Hell tour last year. With many of the aging metal idols still working, I guess I had better get on the ball. Who knows when I’ll pass on another last chance to catch a legend? Will it be Rob Halford, Lemmy, Geddy Lee, or even (shudder to think) Ozzy next? Metal is a growing and aging beast, and will, undoubtedly, lose more founding fathers in the years ahead. Those legends will surely be honored by more innovation and resilience in the art by future generations.

Although Ronnie James Dio has slipped away, he will be treasured, appreciated, and never forgotten.

Sunday, May 16, 2010

Brief Blasts in Paragraph Form: Part II

Here’s a veritable grab bag assortment of albums from various pagan/ folk/ Viking bands that I’ve overdosed on over the last couple of days.

Slartibartfass Funkenfeuer



(Ketzer Records)

First up are Slartibartfass, a German outfit sounding, at first, like a Finntroll clone with perhaps slightly less bounce to the music. Slartibartfass do mix it up quite a bit with a didgeridoo, bagpipes, a Jew harp, keyboards, variations in tempo, a few good riffs, you name it. Strangely enough, there are even moments of near techno/ electronica to further confuse the issue, and the result is a rather strange album in Funkenfeuer. Hmmm. Proceed at your own risk, but there’s definitely an original approach going on here.

Slartibartfass MySpace

Svartsot Mulmets Viser



(Napalm Records)

Immediately, Denmark’s Svartsot bring to mind bands such as Korpiklaani or the awful Alestorm with a melodic approach to bouncy pagan/ folk metal. Completing the illusion with a cartoon-like cover depicting grizzled wizards in a lodge with drinking horns is not very encouraging, either. The music is enjoyable enough for a few songs, the vocals are rough, and there are a few good riffs. Mulmets Viser is not very good, however, and most casual listeners of this genre will soon find their attention drifting after a couple of songs.

Svartsot MySpace

Trollech Jasmuz



(Ketzer Records)

The Czech Republic’s Trollech bill themselves as “forest black metal,” a description that can veer dangerously close to parody, to say the least. Other than very high-pitched, rasped vocals, the music is not really anywhere close to black metal, although the pace is generally quick. The production is clear, the musicianship is good, the music has a fair amount of melody, and, most importantly, there’s a decided lack of a sense of danger, foreboding, or any mystery whatsoever. In other words, Jasmuz is perfectly “play it safe”, melodic pagan/ folk metal.

Trollech MySpace

Heidevolk Uit Oude Grond



(Napalm Records)

This third album from The Netherlands’ Heidevolk is probably the best of the bunch that I’ve listened to these last couple of days with an approach to the music that sort of sounds like a combination of Ensiferum and Tyr. The riffs are good, there’s a nice variation in tempo with a few out and out gallops, and the vocals are clean with a baritone quality similar to those of Heri Joensen from Tyr. An album with staying power, I can easily envision Heidevolk jumping on to the next Paganfest tour of the United States, if it ever happens.

Heidevolk MySpace

Recently published at Live4Metal.org...

Bleeding Fist Macabrum Bestia Ex Abyssus



Dawn Of Demise A Force Unstoppable



Enthroned Pentagrammaton



Howl EP

Saturday, May 15, 2010

Brief Blasts in Paragraph Form: Part I

I’ve a huge backlog of albums in my “to review” pile, some of which have been languishing in the pile for months. In an effort to clear some of the backlog, here’s the first in a series of quick looks at many of those albums. Take a look at the MySpace pages of those that pique your interest.

Merkaba The Peoples’ EP



(Self released)

Merkaba hail from Austin, Texas and are playing a mix of mildly psychedelic hard rock and progressive metal. Consider Merkaba to be strongly influenced by Tool and Soundgarden, throw in a few weird passages with synth effects, and you’re pretty close to the mark. The musicianship is excellent, the songs are well written, the production is professionally slick, and I can’t imagine Merkaba not attracting the attention of major labels that issue this type of music. I do have somewhat of a soft spot for this sort of music done well (although, I don’t actively seek it out), and Merkaba play the style well, indeed. Merkaba also have a serious political message of progressive themes, somewhat unusual coming from a state filled with reactionary, creationist, near secessionist religious crazies (Travis County being the exception).

Merkaba MySpace

Blood Of The Black Owl A Banishing Ritual



(Bindrune Recordings)

BOTBO are an interesting, “eco”-black metal band from Seattle treading the same lyrical themes as Wolves In The Throne Room. I really enjoyed the self titled debut full-length from BOTBO, but the follow up EP, A Feral Spirit, failed to attract my attention. I must say that I’m disappointed with A Banishing Ritual, as well, which is very heavy on almost industrial-tinged harmonics somewhat bizarrely mixed with Native American themes. Any traditional metal that appears is surprisingly derivative of Type O Negative-style Goth, and is wholly out of place.

Blood Of The Black Owl MySpace

Celestiial Where Life Springs Eternal



(Bindrune Recordings)

Celestiial, originally a one man drone act from Minnesota with one foot planted in “eco”- black metal, and another in funeral doom, has now become a trio on Where Life Springs Eternal. The first full-length, Desolate North from 2006, was a dark exercise in harmonics, ambience, and loon calls. Not much changes on Where Life Springs Eternal, an album with six tracks, two of which are the centerpieces with long exercises in doom/ drone. A few short interludes with bubbling brooks and acoustical guitar nicely surround the big passages, resulting in an album that’s about as varied as this genre can be. As far as I can tell, Celestiial do not have their own MySpace site.

Bindrune Recordings MySpace

Portal Lurker At The Threshold



(Chrome Leaf)

Isn’t R’lyeh just off the coast from Brisbane? It sure seems like it as Portal have just begun a long awaited tour of the U.S. as a lead in to their appearance at this year’s incarnation of MDF. Unfortunately, I had to skip their appearance in L.A. for various lame reasons (as well as skipping MDF again this year, for that matter), but to commemorate the tour, Portal and Chrome Leaf Records have printed up 1000 copies of a vinyl re-issue of Portal’s cassette demo from 2004 entitled Lurker At The Threshold (from fragments of an old H.P. Lovecraft outline, later expanded into novella length by August Derleth). The re-issue is in the form of a 7-inch picture disc to be played at 45 rpm, but I suspect that playing the record at 33 1/3 rpm would be just as entertaining. Two of the original demo’s songs are included here, “13 Globes” and “Omnipotent Crawling Chaos.” “The Sourlows,” a six minute long noise track, is not present. Both songs were later released on Outre’ with clearer production, but the demo’s claustrophobic, muddy production works just fine. The suitably Cyclopean disc art works just fine, as well.

Portal MySpace

That’s enough for now. Here are some of my recent reviews, as well as my interview with Bob Vigna from Immolation.

Nefarium Ad Discipulum



Celestia Archaenae Perfectii: L'Arche Arcane Des Parfaits

Monday, May 10, 2010

The Plague is no more...

Dan Hinds has decided to fold The Plague webzine. I want to thank Dan for giving me the opportunity to write for The Plague, and I wish him all the best. He will, however, continue to contribute to Outburn Magazine.

Here are my last few reviews for The Plague...

Acrassicauda Only The Dead See The End Of War



Darkthrone Circle The Wagons



Sayyadina The Great Northern Revisited



Stygian Fury Rising



Good luck, Dan!

Sunday, May 09, 2010

"How Can You Not Like This?!" Cannibal Corpse at the HOB Sunset Strip!



"How can you not like this?!" has become something of an in joke with a friend of mine, and the question aptly describes the absolutely monstrous Cannibal Corpse/ 1349/ Skeletonwitch/ Lecherous Nocturne concert that recently demolished the HOB Sunset Strip. This was, by far, the most insane show to have occurred at the HOB within the last few years; at least, those that I've attended, and you can read my full report of the show here.

A photo pass was arranged (as always, special thanks to Chad Bowar), and I took a ton of pictures, only a couple of which were published. Here are a few more, and you can always check out my Flickr photostream here.

Lecherous Nocturne





Skeletonwitch











1349













Cannibal Corpse















The crowd...



The t-shirt haul!





Video

Skeletonwitch







1349





Cannibal Corpse







Next...



Recent reviews...

Ereb Altor The End



Ufomammut Eve