Author & Punisher @ the Earl

Didn’t catch local openers the Dead Register, but arrived just in time to catch Portland duo Muscle and Marrow. Their last studio album was “the Human Cry “ which was released in August of last year. While I have not disliked what I heard from Muscle and Marrow's studio output, I never became as immersed in the album, live the really changed the way I think of them. Their performance inspired me to go back and listen to their music with a new set of ears. It's rare when and artist can spin your view of them around with their performance. They were much heavier live and Kira Clark's voice goes from an almost black metal like scathing scream to a vulnerable soprano. She was at times lost in her emotions, this gave way to what might have been seen to some as theatric hand gestures but it seemed to me to be a very honest physical manner in which she channeled the music through her body. While there were samples and layers of vocals triggered from a laptop off stage in comparison to Author and Punisher they were very organic.

Funny enough I also attended Deafheaven a couple days after this show and that show required very little digestion to review. With Author and Punisher, it has taken a few days to process my thoughts on what transpired. I had been looking forward catching Author & Punisher live for some time. You know what Shore does, you might have even seen video of him preforming, but watching it in person unfold before you is a much different experience.to a lesser extent author & punisher also proved to be a much different beast. Having toured with metal bands in recent years the influence was undeniable their was a harsher and more abrasive attack to his live sound. At times this also carried a droning quality to match the static fuzz of the video screens behind him. Some of his more melodic work did not surface until the third act of his seat.

 The video screens were more often than not abstract, though there was the moment when you could not tell if it was rabbits or wolves appearing to stare at you from the woods. One of the more interesting reactions, came from One of my friends who met up with us at the show and went into it with little to no knowledge of who or what Author and Punisher is said to me that she felt like she was on drugs. I saw Neurosis on a bunch of drugs about fifteen years ago and I am sure it must have felt very similar. Author and Punisher was more driven that punishing as they layers of artistry involved engulfed the senses. You realized the fingers of his right hand are playing the cymbals of the drum machine triggered by the hydraulic pump that kept the pulse of the performance. It is show much like Swans that must be felt live to truly be appreciated.

Tonight: Rasputina at the Earl in Atlanta

For our readers who live in the Atlanta area it's time to break out the clove cigarettes as Rasputina rolls into the Earl tonight. I can't think of another show this week that will capture the spirit of Halloween as well as Melora and company. You might have gotten a taste of the Transylvanian concubines at Dragoncon this year, but this is going to be  one of their most intimate performances to date. Expect to hear your favorites from their 96 debut “Thanks For the Ether” since Carpella Parvo one of the original cellist from that album is re-joining Mellora Creager. This tour is also going to be the first for the band that will feature piano and beat boxing courtesy of Luis Mojica, taking the place of drums.

They are touring in support of their new album “The Stranger” which came out April of this year. Some of the normally fanciful lyrics are now veiled metaphors for Mellora’s experience of being stalked on the internet, which serves as the cathartic inspiration for the album. While saying “Expect to see it on my top 10 best of list” could best sum up my review of the album, You can read my full review of “ The Stranger” here…  http://abysmalhymns.blogspot.com/2015/07/return-of-steam-punk-queen-rasputinas.html

For those of you not as versed in the band and are wanting more of the glimpse perhaps you caught at Dragon-con or are just looking for something to do tonight don’t be fooled by the cellos as they have been known to step on the distortion pedals and crank out covers of Heart and Pink Floyd. Creager was also the cellist for Nirvana’s last tour of Europe. The band has shared the stage with everyone from goth royalty such as Ms. Siouxsie Sioux and Marilyn Manson to Les Claypool and Porno For Pyros. So the cellos will be much louder than you might imagine. Creager was dressing in victorian garb years a decade before steam punk became a thing and songs like Transylvainian Concubine will put you in the mood for the spookiness that follows this weekend. If you are an old goth like me then this is just business as usual like the other 364 days of the year, but if you are looking launch your Hallowed weekend into full ghastly gear then get to the Earl at 8:30 when doors open to get your drink on. Daniel Knox opens and it’s only twenty bucks at the door.

Goatwhore@ the Earl 7/12/15

Being a Sunday this show had really early six thirty  doors and I'm sure we didn't show until nine, and my fiance hadn't eaten so grabbing a burger at the front bar took priority over Black Tongue. In some ways the Earl is one of the city's better venues, in other's it's still shitty, at sound for Goatwhore’s set was generally more decent than not. They came onto the stage with a lot of energy with " Poisonous Existence in Reawakening”. This show saw Rob Coleman from Warmaster / Hod on bass and he really gets the black metal side of what they do and brings that a little more to the forefront. The band pulled from everything from their newest album” Constricting Rage of the Merciless” to  "Graveyards and Dead Angels" off of their first album "the Eclipse of Ages Into Black" which of course given the time of its release had a noticeable Acid Bath moment

One of the things that became more apparent to me with this show is that fact that when it comes to the use of harsh vocals these guys do it right. All to often growled or screamed vocals come across as an obligatory after thought. With Goatwhore they have differing patterns that work around the riffs and when Sammy chimes in, his voice carries a more evil rasp, that touches on tones Louis voice hits in a different way, giving the band death metal lows and a few different black metal rasps from a more commanding anger to a wretched curdling of the vocal chords from Sammy. The other thing that caught my ear was after having interviewed Louis last year and having him reference Celtic Frost repeatedly, I picked up on some of their more “Morbid Tales” like riffing which became more apparent than on some of the more thrash flavored stuff off say “Blood For the Master”.

This was a much different crowd than the last time I caught Goatwhore for the Summer Slaughter tour last year. The reason being that demographics of the Atlanta metal scene when it comes to taste is pretty split geographically. the city kids thinking they are too cool for school and only being into metal with punk roots, since most started off as punk rockers who got into metal when it started getting bigger in town ten years ago. Where suburban kids who to be more willing to frequent the venue called the Masquerade that will book a wider span of metal from Kamelot to Whitechapel to Cannibal Corpse, thus on the Whitechapel side which...sure might suck, but city kids will also turn their noses up at otherwise good bands like Katatonia who no punk associations and more melody.  What can be said of last year’s crowd is they seemed to be more appreciative of the performance, I don't remember him saying anything at the Masquerade show to imply that there were people there for reasons other than the music, which even with a 15 dollar cover could be said of the Earl.

Atlanta metal scene tends to pat itself on the back for nothing it was the last night of their tour so Louis was all about celebrating only to get the typically blase' response, he repeatedly had to remind the crowd the bar wasn't going anywhere and put their hands together for the other bands, the birthday's merch guy who doubles as Exhumed's chainsaw wielding mascot and the drummer from of Black Breath. He took it all in stride for the most part telling some fat kid he was going to bite his finger off if he kept shooting birds and people to be part of put their iPhones away and stop Facebooking or text dick pics and to have fun and became aware it was nothing personal after giving a shout out to the local band Withered, who only got a limp patter of applause, to which Louis asked the member in attendance” What happened you are giving away blow and whiskey? Every band knows that’s the only way to get fans.”

Fun prevailed by the end of the set as members of the road mates for this tour Black Tongue and Theories, came out on stage and danced in Goatwhore panties during the last song, which Louis told the crowd that they were going to leave everything else behind and get the most enjoyment out of the final four minutes, which was accomplished even with the products of today’s ADD society in attendance. Goatwhore proved that they are not only a finely tuned metal machine, but also the best American Black Metal, band despite the other flavors they bring to the table, as all hipster and post- rock pretense is stripped away to have it shoved in your face at the rawest level. They are a band you must check off your metal bucket list if you have not caught them yet. 

Agalloch @ the Earl 6/24/2014

I had high hopes for this show. The Portland based band was pretty impressive when I caught them a few years back when they were touring to support "Marrow of the Spirit". While excited to catch Agalloch again, I also have developed a keen sense for missing openers, so made it to the Earl a little after ten. This is proably survival skill set in motion by my subconscious in hopes of conserving my hearing. So Vex was just a rumble coming from the other room while my girl friend ordered food. The crowd was a good size for the venue , on par with what Agalloch drew the last time I caught them at the same venue.

They took the stage with  lead growler Jon Haughm carrying a bowl of incense to create a ritualistic feel, though this was not done with the same dark occultic intensity as what say Watain or Atriarch do. I think it was more for the bands benefit to get them into the head space to preform. The bulk of their set was from the newest album. Bringing the front man to joke they were going to play something that no one wanted to hear from the new album. However they respectfully gave the fans what they wanted with a few tunes off "Ashes Against the Grain" and "Marrow of the Spirit", leaving "Pale Folklore largely neglected.

 "So this is the future home of the zombie apocalypse" Jon quipped in his first interaction with the crowd." At least you guys get a cool show. We get Porlandia, which is almost a documentary." He later asked if we wanted to hear something from the Mantle. This brought a decent roar of approval. Jon then stated that they had never played "I am the Death of the Earth" in Atlanta before, though that fact wouldn't matter to people catching them for the first time. This song was also the only moment in the show where he attempted clean vocals. On the newer songs which have more layered growls, the other guitarist Don Anderson stepped up to the mic and lent his throat.

 Playing for almost two hours, the band kept their energy level steady. The only dips were in the more ambient portions of songs which sprawled out into the more post-rock like middle sections. Drummer Aesop Dekker, who also drums for such acts as Vhol and Ludicra played a large part in the propulsion of the songs. His preformance really stood out. The veteran drummer had his signiture precision, but tirelessly handled double bass and blast beats. He made what he did look easy , despite the thunderous sound he created.

 I have always felt lead guitarist Don Anderson is one of modern metal's most under rated guitar heroes. He once again, show cased the dexterous chops that he employs so tastefully into the context of what Agalloch does and works well with Haughm. They intertwined the sonic layers perfectlly. One reason for this also seemed to be a smart stage volume. They were loud, but also very clean tonally. Many metal bands make the mistake of cranking up their stage volume until the by product is a muddy swamp of distortion and no discernable notes. This was not the case with Agalloch, who made each guitar melody count. Anderson also took the lead when it came to the band's  stage prescene goes. He worked the stage in a manner most metal bands of their ilk would not have half the charisma to execute, without coming off as trying to hard. He seemed very natural. This left John snarling at the mic center stage. Both he and the bass player did not shy from the obligated headbanging when the dynamics called for it.

Overall they met might high expectations and continued to defy description, even with the reduction of clean vocals , the guitars compensated well when it came to melody. I would go see them again if they rolled through town next week. Though they tend to make summer jaunts due to some of the band's work schedules, so next summer it is. With that in mind make sure to catch these guys live when they roll through your town and it will embed your fandom if you have been on the fence with them in the past.

Live Review: Chelsea Wolfe & True Widow

One of the problems with drugs is there will never be another first time.  It can only happen once. By not realizing this you can the dragon trying to recapture the majickal first time. Chelsea Wolfe is aware of this fact because each time I have seen her perform it has been a different experience. This time was similar to the first time I saw her on the Apokalypis tour opening for Russian Circles though the difference here is the show took on a much different feel. But I'm ahead of myself...

True Widow took the stage an hour after the doors opened. They were very casual in their presentation, at one point the guitarist asked for more lights on stage as "it was too dark for him to see his guitar and causing him to mess up." I own their first album but live there was the Texas twang to everything that I had not noticed before.  The guitarist reminded me of Casey Affleck from the Killer Inside Me.  Live the deliberate drag of the beat, had the plod of doom but was layered in such a coat of 90's slacker rock that it sounded like the ghosts of  Sonic Youth being pored a like molasses over the fuzz. I am interested in hearing their new album so keep your eyes peeled for a review of it here.

Chelsea Wolfe took the stage to dimmer lighting and the drone of atmospherics. The set was split pretty evenly between Pain is Beauty and Apokalypsis.  She swayed with the beat when guitar was not in hand. There was a sense she felt liberated  from being anchored behind an acoustic guitar as she had on the previous tour and the new material seemed to bring a new fascination of expression in the live setting for her and the With a full band the older songs are always going to sound fuller , the new songs held up well against her more time tested material which bodes well for Pain is Beauty, though there was an obvious shift in the darkness and intensity level when the new songs started up. We Hit a Wall,  had heads bobbing upon the first strains of the beat , though the other new songs were not yet as immediately recognized.

 The sheer power of these songs alone translated well live and won the crowd over.While the myriad of loops and sounds required Wolfe to employ various effects and back tracks it did not take away from the caliber of the talent required to pull the dynamics of the new songs off. Her backing band consisted of  the musicians employed on the Russian Circles tour  bassist Ben Chisholm , guitarist Kevin Dockter and drummer Dylan Fujioka. The  ghostly delay and chorus she used on her voice not to hide behind but use her voice as more of an instrument. It created better blend with the darker more electronic based direction of the newer material and blended the older songs with them. So it gave her voice more of a Cocteau Twins feel at time. Dry vocals would have sat oddly apart from the sonic wall the built so this was a wise choice on her part.

"Sick" which has become my favorite song on "Pain is Beauty" worked well live it carried more of a goth melodrama to it, Wolfe dropped to her knees in a more vulnerable position as a counter to the lyrics stronger men than you /  have tried to break me".  Her stage presence while it's always been intense seemed to have evolved with the new material . her body responds to the oppressive current of the music in a more sensual manner. She piled her hair atop her head while singing at one point and it felt like she was more comfortable in her own skin in doing this simple gesture. She is more relaxed in the darker tone.

It also was apparent that with this more tangible intensity level the live show now bring she would be able to fit more comfortably on bills with metal band. She has had cross over appeal with metal heads and has shared the stage with the more indie flavored black metal bands in the past such as Liturgy, but her new material would find her in good company for any one from Godflesh to Agalloch or even Katatonia.  There was a gaggle of college girl screaming out to Wolfe from stage left, at one point one girl screamed for Wolfe to cast a spell. This is amusing to me as her shows have held a ritual like atmosphere where the pageantry of this show was less bout the outer trappings set against her inner intensity and more of a communion with her self that created a celebratory catharsis. The second time i have seen her this year and would go see her again next week if she played which I think stands as a testimony to Wolfe as a performer who continues to evolve.

Deafheaven & Marriages @ the Earl

I walked into the surprisingly crowded Earl as Atlanta's From Exile were playing. I like their 2009 album Monolith, not so much that it has to stay on my iPod but the time it was on there it was an interesting listen. While I am normally a fan of clean vocals , live there's come across bland and the melodies are somewhat static. In the studio when they sit back in the mix and are coated in effects they work with the music rather than against it. They seemed to be oddly matched for this bill considering their affinity for Dream Theater.

I saw Marriages back when they opened for Chelsea Wolfe and Russian Circles, while I liked what I saw that night there album wasn't easily hunted down so they slipped my mind. This time they were much more impressive and I hunted down their "Kitsune" e.p. the next morning, which is high praise for a band to inspire such a fervent need to have their music.

Their singer's voice held more power and worked with the delay slathered over her voice in a way that made it another instrument. The band played more explosively and the louder side of their dynamics held more punch. I would say aside from some of the wandering spaciness that segued the songs they played a pretty perfect set. If they roll through your town consider them to be highly recommended. Though they are not metal they are powerful and if you like darker music with dynamics and heaven on the haunting melodies then you will like them,

Deafheaven were also in fine more but maybe it was their volume in the larger room, but they did smack me in the face like they did when I saw them blow Alcest off the stage. Perhaps it's because of the more ethereal nature of the new album that floats along the post-rock border more closely than it does black metal.  Another factor could have been that vocalist George Clark and guitarist Kerry McCoy are the only original members.

Clark's stage presence should once again be noted , though it was high intensity it was less extreme than the previous performance, it was less rageful and more refined. He wore black leather gloves the entire performance and stalked the large stage of the Earl  rather than the explosion he gave on the more confined stage of the 529. He is more influenced by hardcore than black metal for sure, his interaction with the crowd  the most noted element of this. Clarke did add more snarl to some of his phrasing like he felt obligated to balance their more shoe gazing direction with metal.

The band pull from their new "Sunbather" album for the bulk of their set with "Unrequited" and "Violet" as the only two songs from " Road to Judah" . To their credit the new songs did eventually come across heavier live, it's just from the outset they didn't create the same onslaught.  The band ravaged their instruments breaking guitar straps and strings plagued the set particularly befalling their touring guitarist that often led McCoy to hold down the fort. There was a weird interlude in between a song where they allowed a back track of guitar to play.

At the end of the night when it was all said and well done, they connected with the crowd. It was not a black metal crowd, but one who appreciated the scope of what the band does and this duo has put into their craft all else was overlooked and became a muted point.