Heaven on Earth

Strung Out, Death By Stereo, This is a Standoff, and King Rat

Wednesday June 10, 2009
Ogden Theatre, Denver, Co

For years, it seemed as if Strung Out came through Denver every six months. Last spring they supported Pennywise on a large-venue tour that stopped at the Fillmore (boo). Thanks to Live Nation and their inability to make up their fucking minds, we strolled into the venue only to hear "Matchbook", a sure sign that Strung Out has just completed their set. Now it's been 13 months and I am exploding at the seams. The icing on the cake? Death by Stereo is opening. No two bands have made such an impact on my life. It makes me randy just thinking about it.

Photo courtesy of Live 'n Loud Magazine

Our immaculate timing brought us into the Ogden just as Death by Stereo began to destroy the crowd. Their set consisted of a surplus of Day of Death tunes (my fav), including "Porno, Sex, Drugs, Lies, Money, And Your Local Government" and "Desperation Train". After celebrating drummer Chris Dalley's birthday with a My Little Pony cake in the face, it was on to new tunes. Guitarist Dan Palmer took opportunity to show off his finger-tapping skills with "I Sing for you", followed suit by "Emo Holocaust", a new version of "Hippie Holocaust", a pit-friendly hate song. :)

Photo courtesy of Stephen McGill

With the energy at max levels, Strung Out's Chris Aiken joined the crew on bass for a speedy rendition of "The Curse of Days" as guitarists Palmer and JP Gericke joined force in dueling solos. Frontman Efram Shulz dedicated the next song, "No Shirt, No Shoes, No Salvation", to all the assholes trying to sell us God. This track was supported heavily by the crowd chanting "Die, die!". A typical skeptic of crowd participation, I found myself abiding by every one of Shulz's orders . His performance empowers every member of the audience while strengthening himself and the music. Ironically, Death by Stereo finished their set with "Wasted Words", a plead to listeners to open their ears and minds to what they are actually experiencing.

Photo courtesy of Stephen McGill

A little sidenote: I recently read a review of this show by local writer Andrew Brand. Here's what he had to say about Death by Stereo: "Synchronized and obviously choreographed guitar-swinging motions combined with matching outfits to make it feel like the band worked more on planning their stage personas than writing songs" (denverpost.com). What this author failed to grasp is that their stage personas stem from their passion for the music, from Shulz's windmills to Palmer and Gericke's synchronized guitar lunges.  I have never seen a band whose music, and performance, is so true to their characters. What other hardcore band takes the stage and informs the crowd that we are all here to celebrate ourselves as individuals? I encourage everyone to experience Death by Stereo live for themselves to see what the hub-bub is all about. And spread the good word.

Now that my heart is pumping and blood is boiling, it's time to get Strung Out. With nearly 150 songs to choose from, waiting to hear the opener is always a nail-biting situation. This year, the first track from Twisted by Design, "Too Close to See" was the chosen one. Guitarist Rob Ramos' twangy riffs accompanied by legendary drummer Jordan Burns' triplets threw the crowd to the dogs as the pit exploded with energy. The spaghetti western intro to "Calling" gave way to sweeping Spanish guitar and string-bending solos from Ramos and Jake Kiley as they redefined the word teamwork. "Mind of My Own" followed close behind, complete with singer Jason Cruz's growling cackles as he crouched in a dark corner, causing every woman (and most men) in the house to cream their panties. Whew.


Photo courtesy of Live 'n Loud Magazine

The steadfast aggression continued as Strung Out blitzed the crowd with "Bring Out Your Dead", complete with new lyrics and extended instrumentals. "Velvet Alley" was sandwiched nicely between two Exile in Oblivion favorites, "Vampires" and "Scarlet", fabricating a lyrical triple play depicting romantic and cultural atrophy, coupled with fantastic transitions and experimental guitar. Strung Out kept it going with a two song set chronicling the undulation of the American youth and ideals through "The Kids" and "Blueprint of the Fall", between which Cruz appropriately shared a joint with crowd members.  Welcome to Colorado.


Photo courtesy of Aaron Thackeray

Before heading on the road, Strung Out had spent the last few months in the studio, and everyone expected a little taste of the new album. As Cruz juiced up the crowd, I noticed guitarist Kiley and bassist Aiken switch instruments.  A true sign of a well rounded musician. The prog-metal newbie (featured on their studio diary) incorporated the creative construction seen in Element of Sonic Defiance with heavy, crunchy riffs. "Matchbook", Strung Out's coup de grace, followed close behind. Although it's not my favorite song, you can feel the emotion tingle your skin as everyone in the venue throws their heads back and sings as if no one is around. We had the honor of chatting with Ramos after the show, and spoke our displeasure on always ending the set with "Matchbook". He shot me his most sincere look, and told us that the song means something to them as a band. Need he say more? I can once again appreciate this tale of a corroding relationship.


Photo courtesy of Aaron Thackeray

After a booming chant from the crowd, aided in part by the members of Death By Stereo, Strung Out re-appeared for their encore. The haunting hit "Cemetery" set the mood with Aiken's hypnotic bassline and Cruz's thunderous voice.  It was during this song I realized that the sound at the Ogden was immaculate, the levels perfect, allowing each instrument to speak for itself.  Strung out immediately jumped into Ozzy Osbourne cover, "Bark at the Moon", which never fails to get the testosterone flowing.  With gratitude, the band exited the stage, sweaty, exhausted and accomplished.  

In the 15+ years Strung Out has been performing, Colorado has been fortunate enough to play host to these punk-rock-legends-in-the-making numerous times.  Each performance shows their musical advancement as they push the boundaries, setting themselves apart from what one typically expects from a dying music industry.  Strung Out and Death By Stereo continue to astound me, both as musicians and as every day people.  I believe these two bands will never loose their passion for what they do, and I consider it an honor to be a part of it as a fan.  Thank you.

Photo courtesy of Stephen McGill

Like that shit? Here's more!
Ten Foot Pole - DBS's drummer Chris Dalley's and SO drummer Jordan Burns' old band
Straight Faced - DBS touring partner and fellow Cali hardcore crew

Zero Down and Pulley - featuring former SO bassist Jim Cherry

No Use For a Name Weekend Extravaganza Round Two

No Use for a Name, Only Crime and Pour Habit
Photoblog!



Sunday June 7, 2009
Surfside 7, Fort Collins, Co

As our weekend in rock continued, DJ and I found ourselves at our home away from home, a little punk rock bar in Fort Collins that goes by the name of Surfside 7. Those of you who haven't visited this gem, go now. Not only do they serve killer pizza, but they always have a plethora of microbrews on tap for under $3 a pint. The walls are a collage of local artwork, hanging pleasantly with random keepsakes the bar has collected over the years, from He-Man to tiki men. And chances are, you will run into whichever band is currently recording at the Blasting Room.

We were lucky to get into the show, seeing as they sold out in five minutes when the doors opened, waaaay before we arrived. Just remember, especially when going to shows, where there is a will, there is a way. After acquiring wrist bands and a brief trip to Trailhead for cheese fries (mmmmmm.... cheese fries), it was time for Only Crime. The set up at Surfside always cracks me up; there's only enough room on the "stage" for the drum kit, so the remainder of equipment and band members kick it on the floor next to the audience. Awesome. There's nothing like being close enough that you risk getting chopped in the face with a guitar neck.

Seeing as the show was very similar to the previous night's, I decided to let our photos speak for themselves. Enjoy! Only Crime shots by DJ, my budding photographer.


Guitarist Matt Hoffman


Bassist Dan Kelly had an incredible amount of energy crammed into such a tiny space.


Guitarist Aaron Dalbec and singer Russ Rankin


Hoffman


Dalbec and Rankin

The Fort Collins crowd had an increased awareness of Only Crime, and it was nice to see some well-deserved appreciation for these hard working fellas. Somehow the bands were able to change places, and we watched headman Tony Sly swagger toward the stage. DJ had learned from an earlier conversation with Sly that this was originally their day off. But the band had some friends in Fort Collins who convinced them to play a show (thank you!). It was quite apparent that some social drinking had taken place, resulting in a sort of punk rock karaoke night.


The crowd bracing singer Tony Sly, who at one point during the set, asked the bartenders for "sober in a glass".


Bassist Matt Riddle and guitarist Dave Nassie took over vocal duties after Tony was unable to perform and the crowd didn't know enough of the lyrics.


Drummer Rory Koff


During "Biggest Lie", Sly lost the guitar and the music became much more enjoyable for everyone!


After botching the planned set, No Use decided to play an additional tune. Nassie slammed into "51 Days" as Tony helped to amplify the guitar with his mic.


Sly passing out in DJ's arms. Immediately after this shot, Sly responded with the biggest shit eating grin.

Although the music was cloudy and the lyrics were lost, this was one of the more entertaining shows I have seen in a while. The coziness of the stage combined with the drunken aura of the venue turned the sands of time. I found myself at a house party with No Use practicing in the basement for a few of their good friends. Shows just don't get any more intimate than this.

No Use For a Name Weekend Extravaganza Round One

No Use for a Name, Only Crime and Pour Habit

Saturday June 6, 2009
Larimer Lounge, Denver, Co

My next stop on the Nostalgia Express was the Larimer Lounge in downtown Denver. The first, and only, time I came here was a few years ago to see an little known band by the name of The Flobots. You may have heard of them. This locally-owned venue caters to the underbelly of the Denver scene, providing tons of great bands with a stepping stone into the music world. As Russ Ranking from Only Crime put it, "Just when I think there's no new place in Denver to play, along comes another." And what better place to see No Use for a Name, a band that introduced me to punk rock?


The Larimer Lounge offers an intimate setting from the moment you walk in the door, (and it's 21+!). When we arrived, the PBR was already flowing heavily as Only Crime was setting up their equipment. As a proud member of the vinyl bandwagon, I was excited to see records for sale at the merch booth. And at a screaming deal. An Only Crime t-shirt and album would only set the starving punker back twenty big ones, leaving lots of cash leftover for more PBR.





As Only Crime took the stage, it became apparent to me that few attendees knew what they were about to witness. Only Crime is a sort of punk-rock supergroup with members who embody a rich history in the genre. Drummer Bill Stevenson, producer and former member of Descendents, All and Black Flag, is also co-founder of the epic recording studio, the Blasting Room, in Fort Collins, which plays host to Rise Against and NOFX among others. A few years ago, he joined force with Russ, former head-man of Good Riddance, in hopes to form a more active band. The duo has worked with members of Bane, Hagfish and GWAR to produce two raw, to-the-roots punk records that apparently Denver knows little about.



Back to the show. Although I am unfamiliar with their music, Only Crime never falls short of incredible. There are few heavy hitting punk groups that are actually decent live, and they take it to a new level. Onstage, this five man army keeps it relatively simple, making each instrument just as important as the next. They began their set with "Too Loose", moved on to guitar-heavy "Eyes of the World" and oldie "RJR", which contains very noticeable Descendents influences. Bassist Dan Kelly completed the set with his twangy levels on "Take Me", as Russ took his characteristic lunge position, leaving the small crowd satisfied and hungry for more.



Once Only Crime had exited the stage, people started trickling in from all directions, filling the floor within seconds with anxious onlookers. My tension grew as I didn't know what to expect from No Use. Last time I witnessed these Cali punks, their tempo was incredibly slow and they focused mainly on their pop-crap songs that introduced them to radio play. But when they started the set with "Invincible", all my concerns wilted away . The set continued with new tune "I Want to be Wrong", and drummer Rory Croft's masterpiece "On the Outside", in which the band actually stopped on cue as I have always wanted them to (go listen to the song, you will understand).



Before continuing their breakneck set (they crammed 17 songs into a mere 45 minutes), No Use broke down into some pop punk for the ladies. It was quite interesting to watch the male section of the crowd recede from the frontline, allowing their female counterparts to replace them. The girly side of me was thrilled to witness "Chasing Rainbows", followed closely with "Growing Down" and "Life Size Mirror". This trio of songs are a bit of a reality check, taking listeners out of their shoes to look at things from a different point of view. At least the ones that were paying attention.



After a Maiden cover and more More Betterness, No Use for a Name did what all bands should. Singer Tony Sly informed the crowd that instead of leaving the stage and returning for three more songs, they were just going to continue the set. Fuck the encore! Finally a band that understands that their thirty seconds of silence is a waste of my time (I'm running a tight schedule). This, in turn, makes the last few songs even more powerful. They delivered with newbie "The Biggest Lie", featuring tasty guitar licks (and facial expressions) from Dave Nassie and some crowd surfing by Tony. Only Crime's Russ was invited onstage for back up duty on "Fairytale of New York", a cover of Irish folkers The Pogues. As a perfect end to an amazing set, Tony lost the guitar and the band proceeded to destroy the crowd with "Feeding the Fire". I couldn't have asked for a more perfect finale. Nor a better set. No Use pleased every crowd member by playing at least one song from their many albums. This really was the feel good show of the year.



Like that shit? Here's more!
Descendents, All , Black Flag, Bane, Hagfish - featuring members of Only Crime
Tony Sly - Acoustic
Pulley and Face to Face - featuring No Use bassist Matt Riddle

The Great Outdoors of Colorado Part II

Punk Rocks 2009: The Offspring, Alkaline Trio, The Vandals, Street Dogs, Frontside Five

Thursday, May 28, 2009
Red Rocks Amphitheater, Morrison, Co

Day two of my new venue experience brought me to legendary Red Rocks for Punk Rocks 2009. For my all time favorite concert promoter, Live Nation, this was their first installment of a to-be-annual "traditional, old school punk rock festival for Colorado" at Red Rocks (redrocksonline.com). Alongside a hard-hitting old school line up, 3 Kings Tavern provided a stage for local acts, including Forth Yeer Freshman, Boldtype, The Outta Controllers and Red Stinger. Although this represented a great opportunity for the Denver scene to shine, few audience members were interested. Props to local punks Frontside Five for making the bill.

Upon our arrival, I began to understand why Red Rocks has such an impressive reputation. Settled nicely in the foothills along I-70, Red Rocks is actually a national park. It was a little weird seeing joggers on our way to a punk rock show. Prior to the descent into the amphitheatre, the venue offers a nice "lobby", giving audience members the opportunity to escape the music momentarily. And, after Fiddler's, a $7 Coors didn't sound so bad.

Being used to late night shows, we missed the openers and arrived just as Alkaline Trio was taking the stage. The Vandals come around once in a blue moon, and we blew it (although DJ was lucky enough to run into Warren Fitzgerald in the john). The Trio looked small on the massive stage, but made their presence known. Almost too known. Looking up, the natural rock monoliths of Red Rocks protrude deep into the night sky as they powerfully encompass the crowd. These surroundings cause the music to travel beautifully, but the rocks do not absorb a lick of sound. It was the first time I actually bought ear plugs at a show. I must be getting old.


Photo by Denise Chambers

Although the sound was raucous, Alkaline Trio never fails to produce a delectable set. For the punkers over 25, they opened with "Private Eye", followed by "I Found a Way" for the underagers. The set continued the balance of old and new, including "Time to Waste", "Fatally Yours" and "My Friend Peter". Despite the high levels of energy in the music, the band's performance is quite static, the result of which is similar to listening to the most awesome Alkaline Trio mixed tape. Singer Matt Skiba is the most entertaining of the three, but doesn't have much opportunity to leave the microphone stand. This Chicago trio is one of the few left of their kind, and they do it best in small venues.


Photo by Denise Chambers

The Offspring was welcomed onstage with an astonishing chant from the half-full venue. The band juiced up the testosterone with radio hits "You're Gonna Go Far Kid", "Bad Habit" and "Come Out and Play". Live, the Offspring tours with an additional guitarist, Todd Morse, adding even more oomph to their anthems. A few songs into the set, singer Dexter Holland came wheeling out with a piano to play a song he's been "working on for a while", and encouraging fans not to give him shit. After much preparation, Holland dove into a well rendered version of the Peanut's theme before giving way to "Gone Away", sending myself and the entire audience into our own emotive worlds. Holland's powerful vocals reverberated throughout the foothills, barely audible over the singing of the crowd. A few songs later, and it was time for intermission.



Anyone who has experienced Offspring live is familiar with intermission. This year's edition consisted of juggling unicyclers, pogosticks, and confetti, all in tune to Ixnay on the Hombre's "Intermission" track. Watching the crowd pulsate while the band members lounged in overstuffed chairs, I realized something was missing. (Un)fortunately, the fat man in a petite red thong did not make it to Colorado. Sad face... I think.

Offspring swung right back into motion with heavy hitters "Americana" and "All I Want". As the intro to "Pretty Fly" blared on the speakers (TRIVIA: Who did Offspring pay $10,00o to use the clip?), I caught on to the crowd's ignorance of Holland's verse. Lyrically, and musically, Offspring's discography contrasts between compelling, emotional experiences and fluff. "Pretty Fly", being of the latter, is a tribute to those who "do the brand new thing" without thinking twice. Interestingly, the herd was it's loudest during this song.



Moving toward more intelligible material, the Offspring continued their observations of ignorant youth by closing their set with "The Kid's Aren't Alright", then appropriately began the encore with "Hammerhead", a young soldier's narrative of his field experience. After guitarist Noodles' pot references illuded us into thinking "Mota" was next, the band broke into fluffy "I Want You Bad". After a rollercoaster ride of nearly twenty songs, the Offspring finished strong with crowd pleaser "Self Esteem".

The drive home gave me time to mull over what I had just experienced. These over-ripe California kids may not have escaped aging, but the 40-something rockers outplayed most musicians from my generation. They were unaffected by the Colorado altitude, fed off the energy of each other and the crowd, and the set was an excellent sampling of their entire discography (minus really old shit). Whenever I see the Offspring, they never fail to impress, and satisfy, everyone in attendance, including myself. I slept really well that night (happy face).

Like that shit? Here's more!
Heavens - Alkaline Trio's Matt Skiba's side project with F-Minus bassist Josiah Steinbrick
The Falcon - Chicago's punk rock supergroup featuring the Trio's bassist Dan Andriano
The Suicide Machines - Trio drummer Derek Grant's old band (RIP)
Face to Face - Drummer Pete Parada's band before joining the Offspring
Steady Ground - Ex-Offspring drummer Ron Welty's new band

Thanks to Denise Chambers for allowing me to use her awesome pictures. Check out her portfolio!

The Great Outdoors of Colorado Part I

No Doubt, Paramore and The Sounds

Wednesday, May 27, 2009
Fiddler's Green Ampitheater, Englewood, Co

This was an exciting week for me. There are very few venues in the metro area that I have yet to experience, including Fiddler's Green and (yes) Red Rocks. I am quite abashed to be admitting this to you. Fortunately for my concert reputation, I would be gracing these two venues on consecutive nights for two very nostalgic shows.

When No Doubt announced their reunion tour, I had very mixed feelings. There exists a very short list of bands I have never seen live, and No Doubt was on that list. However, I don't know, nor like, much after Tragic Kingdom. No Doubt has a very interesting history, including two ska-heavy albums No Doubt and The Beacon Street Collection, before they went eight times platinum. As their music took a peculiar turn into New Wave-stardom, I lost interest. Then I found tickets for fifteen bucks. Sold.

Most outdoor ampitheaters in Colorado are enchanting due to your surroundings. On the other hand, Fiddler's Green is located amidst towering business buildings, 300 yards from I-25. Magical. Our walk between parking and music consisted of two city blocks loaded with tour buses, trailers and semis full of lighting equipment . This was going to be a production.

While waiting for booze, DJ and I became observers at the zoo. The inebriated crowd consisted of gays, lesbians and teeny boppers. I didn't realize I had come to a festival. After we received our $9 Miller Light (a big "fuck you" to Coors, who previously owned the venue), we swam through the sea of sissies to the merch booth. Judging by the prices, the people attending this show are not frequent concert goers. Hoodies for $85, CDs for $15. Too bad I spent all my money on beer.



Our perfect timing spared us of Paramore (whew!). No Doubt came out fighting with "Spiderwebs", sporting mohawks and suspenders, even a horn section! Who says ska is dead? Bassist Tony Kanal and guitarist Tom Dumont extended their opener with an instrumental, as Gwen Stephani poroused the stage, eying the crowd. A slew of hits followed, including "Underneath It All" and "Excuse Me Mr.", presented club-dub stylie. During a cover of the Skatalites’ classic “Guns of Navarone,” the crowd, most of who had no concept of the artistry involved with this dance move, was challenged to a skanking contest. DJ appropriately labelled the result "one-tone".



After their old-school stint, No Doubt traded guitars for keyboards, suspenders for glitter tops and pop-art lighting effects. We suddenly found ourselves in a dance club, as "Hella Good" and keyboardist Stephen Bradley's rapping reverberated on the speakers. Just prior to exiting the stage, No Doubt wooed the predominately female crowd with "Don't Speak" and "Just a Girl", leaving a booming statium itching for more.



Like that shit? Here's more!
Apple Core - Gwen's first band with brother Eric and singer John Spence (let me know if you can find any music, I have been unable to do so)
Invincible Overlord - Guitarist Tom Dumont's side project
The Still Life - Drummer Adrian Young helped compose the score for this film

The Human Abstract, iwrestledabearonce, Vanna and Set Fire to Athens

Friday March 22, 2009
Marquis Theatre, Denver, Co

Due to a previously failed attempt to see The Human Abstract live (a story for another day), and the fact that the Marquis is my favorite venue in Denver, I was fucking stoked for this show. Unfortunately, we missed Vanna and locals Set Fire to Athens - I told you to get used to it - and arrived midway through the set of iwrestledabearonce. As the good little music fan should, I researched the opening acts via (cough) myspace. Their name is not the only thing that sounded like a joke. The tracks were just noise. And that's exactly what it sounded like live. Until we got closer.

The music was heavily bass driven, with finger-tapping guitar, power stances, and menacing, vile screaming interchanged with harmonious vocals. Krysta Cameron, who Jon and I dubbed metal Bjork, has a set of vocal chords that are otherworldly. Have a listen and form your own opinion. IWABO successfully turned the show into a metal dance party, using what appeared to be a signature move, combining skanking with a jig (?). Somewhere between the genre-bending music, all-bitch-mosh-pit, and toupes thrown onstage, I became addicted.

I strategically staked out my favorite and best seat in the house for The Human Abstract -behind the speakers. You can see everything since you're practically on the stage. Plus the 14 year-old over-singing the wrong lyrics is behind some other poor fool. We had a perfect view of guitarist Dean Herrera just in time for his dual guitar-sweeping solo with Andrew Tapley on Nocturn's "Mea Culpa". Usually a strobe-light-hater, I now realize they are a necessity for rad metal guitarists with long dreads who like to shred. I cannot believe I didn't bring my camera.

Since this is THA's first tour headlining, they have the opportunity to play songs they've never performed live, mostly off their new album Midheaven. "A Violent Strike" was one of them. This nearly seven minute song was the highlight of the show for me. Along with Tapley pouring sweat onto the crowd during "Breathing Life into Devices". And the high school kid in the front row who knew the entire drum track of every song. I guess it was all pretty sweet.

Toward the end of the set, I heard rumor of another dance party brewing behind me. Members of IWABO stormed the stage, along with everyone in the crowd. Metal dance party, round two. Somehow, Harrera and vocalist Nathan Ells pulled off some onstage stage diving. It was an intense conclusion to a high-energy, crowd-pleasing show. I cannot believe I didn't bring my camera.

Like that shit? Here's more!
Protest the Hero - mathcore goddess worshipers.
Dillinger Escape Plan - IWABO's dance move should work with this.
The Fall of Troy - something from Seattle that's not indie. Kinda.
Tera Melos - instrumental mathcore.

Stay tuned, next week Rawk goes Pop! No Doubt and Paramore!

No Fear Energy Tour

Lamb of God, As I Lay Dying, Children of Bodom, God Forbid, Municipal Waste

April 28, 2009
Fillmore Auditorium, Denver, Co

Our untimely arrival at the Fillmore allowed for a quick pitstop and a few minutes to attend the merch booth. Am I getting old? When did merch become more expensive at the shows? Thirty bucks for a t-shirt?? Are you fucking kidding? I will continue to do my shopping at Hot Topic until bands pull their heads out of their asses (shout out to Fat Mike, who recently decided to sell all Fat Wreck Chords albums at all stores for under $10). On to the next overpriced rip-off. Twelve ounces of Miller Light for seven bucks. I'm now $49 in the hole, and Children of Bodom is still tuning their instruments. Thank you Live Nation.

Moving on. Due to our tardiness (get used to it), we missed God Forbid and Municipal Waste. Children of Bodom took the stage to their signature sound of keyboard. I have to admit, I was curious to see these Finnish metal gods opening for Lamb of God. I'm not complaining, just unsure of how they would fit the bill. Unsurprisingly, very little of the crowd was interested in what they were doing. Those of us that were were pleasantly surprised by the set list, old shit! The title track from Blooddrunk was the only new song played, amongst "Needled 24/7", "Are You Dead Yet", "In Your Face", and "Bodom After Midnight". After a few slightly messy songs, lead singer Alexei Laiho informed the crowd of an unfortunate accident he suffered a few days prior; a tumble out of bed on the tour bus cracked his collarbone. All too familiar with injuries, Alexei and the rest of the band are a determined bunch, and, after all, the show must go on.



Intrepid as the sweeping guitar of Laiho and Roope Latvala may be, keyboardist Janne Warman is what gives Children of Bodom their unique sound. It is difficult to distinguish everything he is doing in the studio recordings, but live is a whole different monster. Warman's keyboard is angled almost perpendicular to the stage in order so crowd can see what he's doing. It's mesmerizing. He is present from beginning to end, intros to solos to rhythm. Children of Bodom successfully energized the crowd for As I Lay Dying.

While As I Lay Dying was preparing to take stage, I began to understand why the stage was so heavily backlined. Each member of the band had their own riser to perform on. Since we had chosen the back of the crowd (more room for rawking), I was quite appreciative. AILD has an incredible stage presence involving plenty of movement and has an even tighter sound live than in their recordings. Afterall, isn't that the point?

Drummer Jordan Mancino utilizes two bass drums, making for an incredibly full and heavy foundation. With Tim Lambesis' mighty set of lungs and metronome Nick Hipa's crunchy guitar, they killed it. Adding to an intense set - which included "Darkest Nights", "Nothing Left" and "94 hours" - was an amazing light show. I have come to the unfortunate realization that spectacular lighting engineers are a dying breed. But with a series of synchronized LED lights, AILD was able to dominate not just the stage, but the entire Fillmore.


Photo by Shane Glenn

Once As I Lay Dying left the stage, it was apparent who the crowd had come to see. Their chant for the headliners successfully drowned out the crappy house music. The first thing I noticed as Lamb of God took stage was the long stringy hair of vocalist Randy Blythe. It's about damn time he grew metal hair. Second thing I noticed was the backdrop: black with four thick white stripes. It had the same effect as Jasper Johns' flags, causing ghost images as you looked away. So even with you eyes closed, you could see the stage. That was magnified by the use of fog and lighting, creating silhouettes of each musician within the stripes. During the last few songs, images of stars, stripes and a skeletal raptor carrying a scroll (from Ashes of the Wake) were projected onto the backdrop.

Musically speaking, LOG's brutal, white collar metal destroyed the crowd. It has been two days now since the show, and their songs are still running rampid through my head. To be perfectly honest, I don't remember much aside from headbanging and air guitar... my own that is. Blythe successfully channelled the devil through his guttural chanting on "Now You've Got Something to Die For", while guitarists Mark Morton and Will Adler brought us to our knees with their ferocious guitar riffs and tasty squeals in "Laid to Rest". Other crowd pleasers included "In Your Words" and "Redneck". Lamb of God went out with a bang, concluding their encore with old-school tune "Black Label".


Photo by Shane Glenn

Before the tour, Lamb of God drummer, Chris Adler, commented, "I cannot wait to begin the first North American run of the Wrath world tour. The package we have lined up is guaranteed to leave sore necks and broken eardrums across the country." Although I destroyed my eardrums long ago, my neck will never be the same.

Like that shit? Here's more!
Sinergy - feat. Alexei Laiho and Roope Latvala of Children of Bodom and Kimberly Goss of Dimmu Borgir
Austrian Death Machine - Ahhnold tribute band feat. Tim Lambesis of As I Lay Dying and Chad Ackerman of Destroy the Runner
Burn the Priest - feat. Lamb of God before they were Lamb of God