I’m actually finishing my top 5 before New Year’s Eve. Santa must have given me some inspiration for Christmas. That and it’s raining (instead of snowing) so there’s not much else to do other than stare at the tree and watch the Grinch steal Christmas again.
My top five for 2015 is decidedly heavier and a bit more doomy than the rest of my top 10. Bonus points for some nice vinyl options and Swallow The Sun’s box might get its own shelf, if only to support the weight of 5 LPs.
#5 Shape Of Despair - Monotony Fields
One of the best of the genre-defining Finnish doom bands returns after 10 long, cold years to plumb the darkest depths of the human experience. With their latest, Shape of Despair chills the bones of the listener, burying them in the sonic landscape of darkness and ice. At times suffocating and at others wildly freeing, it's wonderful to get lost, knowing that you cannot return unchanged.
#4 Myrkur - M
I think Myrkur was in my top 5 last year, too. This year's full-length release was highly anticipated and has been well-received by fans and critics alike. Amalie Bruun's 'black metal project' breathes unique life into black metal forms. In doing so, she creates a fascinating blending styles and cultures- from ethereal choral passages to bleak blast-beat ferocity - all in the blink of an eye.
#3 Paradise Lost - The Plague Within
It's always nice when you find a new band that isn't new. UK's Paradise Lost have been around for some time now. On this one, everything comes together and the band delivers a clinic in melodic death metal. With diverse songs- from slow burners to thrashy riffing to catchy clean/growl interplay - there's always a reason to come back to listen to some more.
#2 Amorphis - Under The Red Cloud
Amorphis. Ambassadors of Finnish mythology, heavy metal icons for over two decades, and the most metal microphone in music. When I say I will travel for music - this is the band that I have traveled the furthest to see (and in doing so I've been introduced to the land and people of Finland and Scandinavia). So it should be no surprise that their new album is one of my favorites this year. Under The Red Cloud contains all the epic poetry, heavy riffs, soaring vocals, death growls, and folk instrumentation needed for the perfect exemplar of Finnish death metal.
#1 Swallow The Sun - Songs From The North: Parts I, II, & III
Sometimes a single album isn't enough. Or even a double album. Swallow the Sun goes all-in on a three-disc album, with each disc dedicated to a particular aspect of death metal, attempting to match the depth and complexity of their native Finland. Songs From The North Part I is an album showcasing STS's signature sound - a blend of emotional highs and lows accompanied by slow, brooding beats with both elegant and guttural vocals. Part II is an acoustic affair, stripping the wall of sound back to its foundation. Part III is true funeral doom. With the speed and power of tectonic forces, the despair is real and reverberates through your bones. There's a lot to listen to and it will probably take a full year to make it all the way through this one. But that's ok because the rewards are as epic and vast as the scope of this record, even at the price of all your emotions and maybe your soul.
It’s that time of year again - the annual scramble to dust off my blog and pull together a list of great music from the last twelve months. As usually, the following list is a list of my personal favorites from 2015 and only include albums that I purchased (digital, CD, and/or vinyl). This was a really great year in new metal releases and there are many records that I didn’t even get a good chance to explore (or didn’t want to cough up the money, considering I’m not independently wealthy). I did enjoy reading a lot of reviews and end-of-year lists from metal writers across the internet. And clearly I'll be busy catching up well into the new year.
Here I'll begin my favorites list with number 6-10 (in no particular order):
#10 Coal Chamber - Rivals
After 13 years, you'd wonder if a new record would make sense. It's hard to judge the right time to come back with it being dismissed as just a 'comeback.' Coal Chamber demoed their chops on tour before recording a new album. That momentum, combined with the skill and wisdom that comes from age, thunders through on every track. Coal Chamber proves that they can lock into their signature heavy, down-tuned groove and tear the house apart.
#9 Marilyn Manson - Pale Emperor
Another solid bit of swaggering, blues-inflected dysfunction from the antichrist superstar. Pale Emperor is a polished tome of solid musicianship. The art is allowed to breathe and rise with a life of its own. Manson feels dangerous again, flirting with the great fire that once made him the most feared in all the land. Also, bonus points for rhyming Mephistopheles and Los Angeles.
#8 Lamb of God - VII: Sturm Und Drang
The latest from Lamb of God debuted at #2 on the billboard chart thingy and even has a Grammy nominated song. Despite all of that, I really like it. As expected, this is a fierce riff and hook-heavy record complete for guest vocalists and a few surprises. On Overlord, for example, we hear a different side of the LOG sound and vocal approach. It's refreshing to hear a band stretch and experiment. (And yes this album was born out of tragedy - go watch the As the Palaces Burn documentary). On an unrelated note, is it me or is guest vocalist Chino Moreno’s (Deftones) singing getting harder and harder to understand?
#7 Ahab - The Boats Of The Glen Carrig
This year was good for doom, especially the slow-burning soundscapes produced by European bands like German nautik doom four-piece, Ahab. Two albums removed from their epic homage to the classic Moby Dock, the group tackle another novel about life and loss at sea. Long songs will reward careful listeners, chilling them with salty sea spray and the punishing depths of icy waters. Bonus points for an awesome album cover.
#6 Between The Buried And Me - Coma Ecliptic
With an eclectic blending of styles, textures, and structures BTBAM has produced another excellent album. Sure, it's a concept album that tells a story, but I'm more enraptured by the music itself. The vocals are as dynamic as the instrumentation, as the band continues to push boundaries. Bonus points for keeping keyboards cool.
Time again for the obligatory 'end of year' list. By no means is this a best of 2014 list. I certainly do not have neither the time, funds, or critical ear to provide an unbiased comparisons of one record to another. As in previous years, this a list of my personal favorite albums - the ones that left an impression and remain in heavy rotation. Interestingly, none of the albums on my list are from American bands. Evidently, none of the US releases left a last mark this year. To be fair, however, I didn't have a chance to give a list to bands like Tombs or Yob, which seemed to garner a lot of favorable reviews. Maybe I'll pick them up in an after-Christmas sale or something... Anyway, here they are (in ascending order):
In Flames: Siren Charms This is the beginning of my top/favorite albums of 2014 list. Sweden was well represented this year - Opeth, Scar Symmetry, At The Gates - but I'm starting off with In Flames. Siren Charms is simply In Flames doing what they do best: the collision of chunky riffs, melodic choruses, and vocalist, Anders Frieden's multifaceted delivery. The album, similar in style to their previous, ebbs and flows between stomping melodic metal and tender-sounding moments that pull you close to the speaker. It's catchy enough to get stuck in your head, though you may not always be sure which song you're singing. It’s also worth mentioning that, having recently seen In Flames live, the new material sounds great. Anders and company never fail to deliver whether their showcasing new songs or playing fan favorites from their deep catalog.
Next on my list is Opeth's Pale Communion. As a follow-up to 2011’s Heritage, the new record finds the Swedish metal crew basking in the grooved glory of proggy nostalgia. The songs are tight, technical, and exquisitely layered. Many people might be tempted to bemoan the lack of 'death' in this death metal band, but listen closely and you'll instinctively understand that this is wholly and truly an Opeth record. Without doubt, it’s probably their most accessible album, full of lush vocals and complex arrangements which push the boundaries into a rounded hard rock sound. The keyboards are pushed forward in the mix and one could spend weeks trapped in Martin Axenrot’s beautiful percussion work. If you’re not up on the latest in metal, but you've got a soft spot for old school prog rock, then there's a lot here for you, too (the instrumental "Goblin," for example... I wonder where they got that idea from ). Overall, Pale Communion is another excellent outing and one that will surely shine played live, alongside the rest of their deep catalog.
Katatonia:Kocytean
While the digital age has made buying a song or album effortless, there's been push to get people back into record stores to buy physical CDs and, increasingly, vinyl. The metal music scene has responded and you'll find that on a lot of new releases come with a vinyl version. Record labels are also reissuing back catalogs of albums on those giant plastic circles. This year, Swedish goth metal band, Katatonia released a collection of B-side material from past recording sessions exclusively on vinyl (bright orange vinyl - which, by the way, looks pretty cool spinning around on a record player). The six tracks span to back to 2006 and gently walk the tender trails of Katatonia's more melodic side. It's a peaceful listening experience, good for a cold raining day. At the same time, it serves as a reminder that music can (and should) aspire to be more than just a collection of bytes on your phone, jostling for a moment of your precious time. It's good to slow down and watch the music spin.
So far, most of my list has contained bands with 20+ years of bringing metal to the masses. My next choice is another act (from Sweden, again!) that has been around, too. At The Gates, known for death metal perfection in the early-to-mid 90’s, released a high anticipated (and hyped) album, At War with Reality, their first record since 1996. The new album is bristling with a ferocity - thick in its sound and intense in its execution. Absence makes the heart grow fonder - an 18 year hiatus makes fans rabid. I say a record this good was worth the wait. At The Gates delivers the metal world an album that will spin forever, renewing the faith of old fans and earning a new legion of loyal fans.
Ghost Brigade:One with the Storm
I’ll make a geographic move on this next one... All the way to Finland. Ghost Brigade returns with their mixture of hauntingly heavy melodic metal. This year’s One with the Storm came together quietly - at least from the outside. While a lot of bands use social media to bait fans during the course of completing a new record, Ghost Brigade went to the studio with barely a word posted to Facebook or Twitter. The fourth album from the Finnish sextet finds them digging in similar soil, traversing the same graveyards as in previous releases, but more focused and deliberate in their execution. The back-and-forth of harsh growl and melodic vocal is neither cliche nor schizophrenic. The impact is brilliant - at times chilling and peaceful, and at others their sound is thunderous and crushing.
Myrkur:Mykur EP
Combining the starkness of black metal with ethereal, often beautiful vocals, Myrkur, the self titled EP by Dannish musician Amalie Bruun, pushes the genre-bending envelope. Drawing on a myriad of musical influences, Myrkur paints the stark Scandinavian landscape with a warmth that keeps you enraptured. The US take on black metal is often gritty, full of fuzz and dirt. From across the Atlantic, Myrkur reminds us of the genre's arctic roots while broadening the depth of its reach.
Solstafir: Otta
With their latest album, Icelandic band Sólstafir creates a sonic universe as textured and riveting as the land from which it's born. Soft and sweet, heavy and hypnotic, Otta elegantly mirrors the ebb and flow of the tide on a volcanic beach. Within these enchanting rhythms, you can feel the sting of arctic wind and the beauty of a midnight sun.
Behemoth: The Satanist
In the years since Behemoth's last album, frontman Nergal has battled free speech and leukemia. Released in February, The Satanist is still in heavy rotation on my listening schedule. It's been a long year with a lot of bands putting out stellar records, but for me, The Satanist stands alone. Nergal and company find the groove within the blast beat of heavy metal. Each song blisters with tight, technical rhythm and voracious vocals. Start to finish, you'll sway, headbang, and roar alongside this massive force. The Satanist is a record that doesn't need to be topped - a rare gift from the metal gods that exceeds expectations at all levels. In fact, it might be perfect.
Time moves quickly and so
does music. Judging by the gaps in my blog posts, I'm obviously having a hard
time keeping up. Truth is, life is more important than tossing together some
words and my writing is forced to yield to events beyond the keyboard. But that's
a good thing. Without experiences, I'd having nothing to write about - and this
year has been a good one, so far. Now, with the fall season creeping in, I
might find a little more keyboard time, in between sips of pumpkin lattes and
hot chocolate, of course.
Periodically, over the last
year or so, a friend of mine has allowed to me crash in on his blog "Saturday Morning Playlist." Please check out his website and other work: Stacking Stones. Jason
is a writing and educator, and, like me, has always held a deep passion for
music and it's ability to transcend meaning beyond just notes
and words.
Here are a couple of my
metal-flavored posts from the past months:
DevilDriver
“Sail” AWOLNation cover
DevilDriver is a punishing
metal band hailing from California (and damn proud of it, too). Frontman, Dez
Farfara (who led the 90’s metal band Coal Chamber and gained fame touring with
Ozzy Osbourne in the heyday of the Ozzfest music festival) leads a power groove
metal machine that has churned out six records and a relentless touring
schedule over the last decade. Their shows are driven by pounding drums,
wailing guitars, and palpable energy from their electrifying vocalist. Circle
pits are synonymous with DevilDriver and their live shows, whether out in a
dusty field or in a cramped club.
The music is loud, the
vocals are ferocious, and the lyrics are empowering. Themes of doing what it
takes to survive, living life to the fullest, and knowing how to pick your
battles are common themes among Dez’s lyrics. Though he’s a self-described
introvert, Dez actively engages with his fans at shows and via social media, he
is proud of life, his family, and his music.
DevilDriver has a habit of
throwing cover songs into their studio albums, including a faithful version of
Iron Maiden’s “Wasted Years.” On their latest album, they turned to the
airwaves of pop rock for a cover of AWOLNation's “Sail.” I admit I had no prior
knowledge of this song or the band, but like any good listener, I was eager to
expand my horizons. With delicate strings balanced by gritty electronica and
distorted vocals the darkly tragic original version highlights the internal
struggle of human nature. DevilDriver’s metal groove machine provides a brutal
contrast while preserving, and even heightening, the desperation driven by
Dez’s frantic growl. The songs swings and stomps, it rattles the cage, grabs
you by the collar and forces you listen to the desparate cries. Living with ADD
since childhood, you get the sense that Dez connects with the lyrics and is
eager to connect with you. There is power in the lyrics that is showcased
equally by each band, demonstrating the universality of the messages that music
can convey, regardless of genre.
"This is how an angel
dies, I blame it on my own sick pride, blame it on the the ADD, baby"
In general, metalheads are
resigned to the fact that the music on their iPods isn't likely to make waves
in popular music in America. However, without a lick of ‘clean’ vocals,
DevilDriver’s newest, Winter Kills, debuted at #32 on the Billboard Top
40, a position for the week that had them sitting between Pink and Daft Punk.
And so the California groove machine rolls on.
DevilDriver - “Sail”
AWOLNation - “Sail”
Katatonia
“Buildings”
Katatonia weaves haunting melodies with
a sound heavily influenced by the gothic and doom metal scenes of their native
Sweden. For more than twenty years, they have crafted dark, chilling work with
an air of elegance and danger, with vocalist Jonas Renske’s croon serving as
the hinge and counterpoint for distorted guitar riffs and double-bass
percussion. In 2012, they released a new record, Dead End Kings, which
again displayed their strength in songwriting and performance. Dark and broody,
the entire album oozes with a power that is both haunting and beautiful. As if
that wasn’t enough, the band re-record the entire album a year later. Dethroned
& Uncrowned takes the same songs from Dead End Kings and strips
them bare. This is not merely an acoustic album. Instead, the band has
remastered each track, removing layer upon layer until they reached down to the
soul and built it up again to reimagine the very essence of each song. It’s an
intriguing idea and Katatonia executed it flawless, creating another compete
work with appeal to both die-hard fans and newcomers alike, which stands firmly
on its own.
“Buildings” is one of my favorite
tracks from both albums. The Kings version is typical of Katatonia’s
gothic, emotive sound, swiftly crushing you under the weight of grinding
guitars which part only slightly for Renske’s tender, determined singing. It’s
a song that works well to open the Kings album and plays beautifully
live. The bridge, three quarters through the song, maintains a subtle sense of
urgency while building to the raucous chorus.
For the Dethroned version, the
heaviness is wiped away. In contrast to the original, piano and vocal harmony
stand proud, yielding only slightly to intertwining guitars. The bridge section
in this version is particular haunting, with the piano and vocals, returning to
the forefront to continue playing a sinister game. The addition of strings and
accessory percussion complete the layering of sound.
Recording an album to a high caliber
like Dead End Kings is challenging enough for a band, but Katatonia
expertly execute the reinvention of their vision for Dethroned &
Uncrowned. Not only do I listen to both albums on their own, but also this
experiment allows me to hear the ideas side-by-side, comparing the differences
in approach, textures, and feelings that each style brings forward. Overall,
truly a crowning achievement that is worth much time on heavy rotation - for
both records.
Buildings (Dead End Kings, live)
Buildings (Dethroned & Uncrowned)
Filter
“We Hate It When You Get What You
Wanted”
I’ve been keeping up with Filter for
many years now, following frontman and creative captain, Richard Patrick from
breakout albums Short Bus and Title of Record, to some lesser known, like Amalgamut and Soldiers Of Misfortune. Filter has had a resurgence of late. A
number of 90’s rock and alternative bands have gone on tour recently. Bush,
Everclear, and Stone Temple Pilots (now with Linkin Park’s Chester Bennington
at the helm) have taken to the road and reminded us of 90's rock - formative
listening years for me, personally.
Filter hasn’t missed a beat either and
in addition to constant touring, Richard Patrick has released two albums in the
last 3 years with dynamic guitarist Johnny Radke (of Kill Hannah) and
powerhouse bassist Phil Buckman. Filter has never felt so alive and current,
while staying true the sound that Richard Patrick created 20 years ago.
Influenced by his days playing guitar
for Nine Inch Nails, Patrick has always sprinkled his records with a healthy
dose of electronica, like on the popular "(Can You) Trip Like I Do,"
and he does so again on the stellar opening track of this year’s The Sun
Comes Out Tonight. "We Hate It When You Get What You Wanted"
stumps and struts behind Radke’s boomerang guitar work. Patrick’s biting lyrics
are perfectly in harmony with the electronic beeps and buzzes that envelope the
track.
In this day we are surrounded by
whatever fantasy people post on the internet. Well, you know what? We don’t
care. And this song feels like an appropriate response to all the garbage
constantly bombarding our senses. We don’t care about your perfect life or
whatever you’re trying to pass it off as. On this song it seems Richard Patrick
is calling bullshit. You can’t possibly be everything you claim.
This is the kind of song that you
listen to with a swagger in your step, pumping your fist with your middle
finger in the air. Your pretty, plastic world is nothing to be proud of, so, as
the songs says, just "sit yourself down!"
Planning. Preparation. Supposedly, it’s all about how well you prepare for something that will make the difference in the overall outcome. There was certainly a lot of planning that went into our 2 week trip from Finland, across Scandinavia, and then on to Iceland. When I say planning, I really mean research. We researched places to go, the sights and activities, and how to travel between each destination. We did not reserve everything in advance, however. Most of the guidebooks suggest booking ahead, especially during the peak season (which in Scandinavia seems to be is either winter or summer) because everything hotel room will be sold and every museum and bus tour will be filled to overflowing with like-minded tourists, happily plodding along the same path that you’ll be traveling (in part, I imagine, because they are reading the same guidebooks).
Planning is not the same as having a plan. It’s very good to have a plan and I even recommend having more than one plan. Initially, we wanted to see as much of each country as possible, mostly by train. I wanted to make a stop north of the arctic circle. And yes, I know that’s a touristy goal, but it was still something that I wanted to do. After our first train ride from Helsinki to Savonlinna (that I wrote about in Part I) the thought of spending the next two full days of our trip traveling by train made us cringe. So we made a new plan. In the end we decided travel to Sweden via an overnight ferry from Helsinki to Stockholm. Not only did we save a full day of traveling, it meant that we would arrive in Gothenburg just in time for the 10th anniversary of the Metaltown festival.
Katatonia
Metaltown was somewhat of a coincidence because it was only after we decided that our trip would kick of at Tuska in Helsinki did we learn about the Metaltown festival. I think we knew that a stop in Gothenburg would mean trying to find some kind of show to see and the opportunity to see a metal show in the metal town was too much to pass up.
Marduk
Ghost
We made it for the Friday night show which hosted a lineup that included Carcass, Sabaton, Ghost, and Slipknot on the main stages. We also opted spend a lot time in the Close-up stage to see Katatonia and Marduk for a more intimate ear shredding. Standing in a field, somewhere outside of Gothenburg, the sounds of screaming guitars and thundering bass mixed with mooing cows and shrieking crows. The sun began its slow march toward twilight as the wind kicked up, blowing dust, cigarette smoke, and grilled food smells in the air. The evening chilled to the symphony of metal blasting through the countryside. I love festivals. Everyone is in good spirits. The music is loud. You can watch as a small group of fans hear the first notes of their favorite band and dash off toward the stage so as not to miss a beat. It’s an opportunity to see bands in a completely different environment. It’s an opportunity to see bands that you might not have otherwise, or a perhaps getting to see a band for the first time. For me, Metaltown was the first taste of Ghost and an introduction to Marduk's brand of Swedish black metal. The Katatonia was excellent and though I don't listen to Slipknot much anymore, they stage a live show like few other bands. Festival sets are always too short but always energetically executed.
And so once again the best advice I can give is to follow the music. Forget the guidebooks that put you in line with everyone else. No one wants to spend their vacation standing in line, waiting for a bus, or disappointed because a famed restaurant is full. Instead, arm yourself with more information than reservations and chart your own path.
I'm doing something a little bit different - telling a story of my recent adventure through Finland, Sweden, Norway, and Iceland through the music the influenced and guided the journey. I've always been willing to make a drive to see a good show. An hour or two or even six doesn't stand in my way. Sometimes (especially depending the state of the metal scene where you live) you have to go to extra lengths to see your favorite bands play. Using this idea as inspiration, we (me and my metalhead partner in crime) decided to embark on a two week trek across Scandinavia to see the sights, visit the landscapes, and to see the places where metal lives.
The first stop was Helsinki, Finland for the Tuska Open Air Metal Festival. Even on our first night, we learned the value of following the music. After getting some pastries and caffeine (not the wisest dinner choice) we followed the sounds of outdoor music. Stepping into a crowded courtyard, flanked by outdoor bars, a glamed-up cover band faithfully cranked out some classic 80’s eighties tunes into the infinite Helsinki sunset. This detour was not in any of the guidebooks we read while researching the trip. We were all the better for that. It feels like most tour advice assumes that you’re most interested in churches and museums and whatever things deemed ‘quintessential’ to the places you visit. Many pages are dedicated to giving you the most authentic experience in the shortest amount of time. I’ll admit that were occasionally victims to this kind of rapid tourism, but fortunately had enough other activities planned that forced us off the well-beaten path.
And so we continued to follow the path of music. Like mountain streams gathering into a mighty river, the legions of metal fans cascaded into Tuska in the waning hours of Friday afternoon. We were there to see Amorphis in particular, but the preceding bands were also worth the trip. Fellow Fins, Wintersun played an inspired set, full of their characteristic virtuosic playing and vocalist Jari Maenpaa’s dynamic howl and screams. The Norwegian metal band, Ihsahn, played some headbanging metal, tinged with black and doom themes. As the crowd cleared from the stage after Ihsahn, I dodged the seagulls to score some food and then settled in at the front of the Amorphis stage, watching from a slight distance as Bolt Thrower hammered home an energetic set on the opposite facing stage.
As Bolt Thrower closed their set, anticipation mounted for Amorphis. Soon the band took the stage for the opening of “Shades Of Gray.” Frontman Tomi Joutsen charged the stage, grabbed his microphone with both hands, and bellowed a death growl to the cheering crowd. The set included eleven songs, spanning past albums Eclipse, Skyforger, Elegy, and Tales From the Thousand Lakes and drawing heavily from their recently released epic story, Circle.
I figured if you’re going to travel thousands of miles to see a band, you might as well stand in the front row. I think this is true of many aspects of being on vacation, whether you’ve travel a long distance or just down the road. It is your time to experience your surroundings however you would like. In this age of information, everyone will offer their must-see opinions. Granted, much this advice is probably well intentioned, but it is far more rewarding to work at doing what you want and being satisfied that your personal checklist was fulfilled.
Our stay in Helsinki was short. The next day we caught a train to Savonnlina, in Eastern Finland to see a castle. We left the vibrant city for some peaceful days overlooking Olavinlinna. This was my first experience with European trains. Despite living on the overpopulated US eastern seaboard for my entire life, I do not have much experience with trains. But everything we read about traveling suggested that taking the train was best way to go. Public transportation has some inherit problems – first, the public: other people. I would normally prefer to walk 20 minutes than take a 4 minute ride on a crowded subway or bus. Second, there is the matter of schedules. Trains come and go at specific times whether or not you’re prepared to depart. The added stress of planning to be in a certain place at a certain time (or face the consequences) diminishes the value of public transit’s efficiency in my mind. If you are going to take the train, I recommend early morning (not for this metalhead) or late/sleeper trains. I found train travel to be somewhat dull. As the scenery whisked by and with my Scandinavian metal playlist on shuffle, sleep was never too far away. It may not be the thing to do, but please just give me a car. I’d rather be lost in a foreign land than asleep on a train. At the end of the (literally) we made our destinations and settled into a few relaxing days eastern Finland, punctuated by sounds of birds and some Amorphis tunes blasting from our phones, just to keep the concert playing.
A few days before Opeth and Katatonia’s show at the 15th annual New England Metal and Hardcore Festival, my wife informed me that we were going to check out Opeth’s acoustic set in honor of Record Store Day. The Newbury Comics store was packed with Opeth fans, clutching copies of Heritage and holding up phones, making videos destined for YouTube. It was truly awesome to see and hear them play through handful of classic songs, including a haunting version of “Demon of the Fall,” which they re-worked for this recent tour. The band stayed long enough for everyone to stop by for an autograph and handshake.
Later that day, Opeth took the stage as the headliner at day 2 of the New England Metal and Hardcore Festival. One of the things I love about seeing Opeth is that you never really know what they are going to play. The first Heritage tour was a cool mix of new stuff and acoustic songs, and the sets have become progressively more blended as Opeth perfects the art of weaving together songs from their deep catalogue.
With its distinctive opening riff and spacey prog feel, “The Devil's Orchard” is a great starting point. The audience still has no idea what to expect from these masters of genre bending. The pit at the Palladium came to life with “Ghost of Perdition” and “White Cluster,” both exemplifying Opeth's technical wizardry. Singer/guitarist, Mikael Akerfeldt’s growl is as devilish as ever, making the moments of clarity in clean vocal shine through. Pulling back on the sonic reigns, Opeth explored their more delicate sounds with Hope leaves and Atonement, before treating the fans to “Deliverance,” “Hessian Peel,” and “Haxprocess.”
There comes a point in every Opeth, as they break for lengthy guitar tuning breaks, when fans shout the names of songs they want to hear. The venerable favorite is a cry for one Opeth’s heaviest, “Demon of the Fall.” At this show, Opeth would give the fans what they demanded, but on their own terms. With haunting harmonies and adept interplay between each of the instrumental voices, the band brought their acoustic rendition of this song to the fans. Similar to the set performed earlier that day, but with richer tones, new life was given to this crowd favorite. With notes and vocals exposed in the acoustic setting, Opeth brilliantly executes one of their best live tracks.
“Demon of the Fall” would set up a spectacular one-two punch as Opeth closed out their career-spanning set (eight out of ten albums represented) with “Reverie/Harlequin Forest” and “Blackwater Park.” And while even Akerfeldt questioned the choice of Opeth to headline the Metal and Hardcore Festival, the Swedish quintet proved that they can perform delicate melodies alongside face-melting death metal (often in the same song) with unrivaled skill and intensity.
Video: Demon of the Fall (Acoustic)
Setlist (from setlist.fm)
Acoustic Set at Newbury Comics, Leominster, MA
1. Credence
2. Hope Leaves
3. Atonement
4. Häxprocess
5. Demon of the Fall
New England Metal and Hardcore Festival, Worcester, MA
1. The Devil's Orchard
2. Ghost of Perdition
3. White Cluster
4. Hope Leaves
5. Atonement
6. Deliverance
7. Hessian Peel
8. Häxprocess
9. Demon of the Fall
11. Reverie/Harlequin Forest
10. Blackwater Park
I want to take you back in time a bit - to the 90's. And I know what you're thinking: ‘ugh, why the 90’s?’ or 'hey, I could be watching cat videos right now,' but just stay with me... Every decade claims highs and lows in music. In terms of rock, we witnessed power metal giving way to grunge and then the myriad of sub genres that would follow into the turn of the century. For me, it was a time in which radio heavily influenced my taste - in part because the radio was free and because I didn't have money of my own to purchase music. I had to save a lot pennies to buy my first CD player, let along all the music I wanted to play on it. As I explored more music, I leaned toward louder and heavier. Coal Chamber played a big part in my musical education.
When I heard that Coal Chamber was getting back together for shows in Australia, I was more than a bit excited. Coal Chamber was one of the first bands to introduce me to dark, heavy music. I had their CDs and had to copy their music onto cassette tapes for my car. I don't remember the first time I heard a Coal Chamber tune, but I can still picture that recordable cassette tape, its clear plastic case, white label and two words scrawled as neatly as I could manage: "Coal Chamber." There was nothing better than driving around after school with the windows down, blasting "Loco" as loud as my pithy speakers could handle. And it didn’t matter who was driving with me - I assumed everyone needed to experience this music. After they disbanded, I faithfully followed lead singer Dez Fafara to Devildriver and that opened my world to so many other bands.
After much hype and anticipation, a US tour was announced, and I didn’t hesitate in buy my tickets for their show in Worcester with Lacuna Coil and Sevendust. Following Dez and the rest of the band on Twitter gives you a sense that these guys are friends and love playing together. Perhaps time can heal many wounds. This seemed like so much more than a band’s reunion tour. In fact, don’t even call it a reunion tour. Coal Chamber picks up with the songs they left us with all those years ago and takes it a another level
From Chela Rhea Harper's taunt opening bass riff on “Loco” to the final chorus of “Sway,” Dez and co put on an utterly transformative show. I’m going to say it... This may have been one the best shows of any band that I have ever seen. They sounded great, which at the Worcester Palladium can be a challenge. Somehow Dez's vocals overcome all obstacles and he commands a stage like few others can. He shares his love, his thoughts, and his life with his fans - asking only for their electric energy in return. Meegs Rascon's eerie guitar work and Mike Cox's thunderous drumming brought to life songs that have sat mostly idle for more than a decade. I'd go as far to say that new life has been infused - these songs sounded like they came from an album released this year - with all the affect and emotion of a band passionately playing the music they love and tearing the place apart in the process. Most of set came from tracks of their first and third albums, but I was happy to hear “Not Living” and “No Home,” off of Chamber Music. Nothing left out and nothing held back. As it should be.
