Hessian blood spilled in Orangevale

Eddie March 14, 2002 0 Comment

The return of Connecticut’s Hatebreed to Orangevale’s Boardwalk was greatly anticipated by the throngs of hardcore metal kids in attendance. Wednesday’s show, a five-band tour de force featuring Poison the Well, Bane, What Feeds the Fire and Sworn Vengeance, showcased some of the greatest talents in hardcore. Recently signed to Universal Records, Hatebreed—whose last full-length offering on Victory Records landed the band several coveted tours, including Ozzfest, Sepultura and even the mighty Slayer—finally made good on its promise to return to the Sacramento Valley.

Poison the Well was the obvious draw of the night. The Florida-based five piece, touring in support of its latest Trustkill Records release, elicited an overwhelming response from the crowd, which numbered over 300. Fusing melodic vocals with bludgeoning guitar lines and incessant, plodding drum attacks, PTW’s delivery heralded the official arrival of a major force on the hardcore scene.

After only four years and two full-length releases, PTW has seen its audience grow exponentially. Singer Jeffery Moreira led the band through a fast-paced set of new and vintage material. Guitarists Ryan Primack and Derek Miller worked alarmingly well together, as evidenced on tracks from the new album, Tear From the Red. And drummer Chris Hornbrook, whose subtle drum nuances, coupled with Mike Gordilla’s rock-solid bass playing, made for an outstanding rhythm section.

Hatebreed was on tour to support the aptly titled album Perseverance, which hits stores on March 26. After touring solidly for almost four years, Connecticut’s most consistent hardcore act was back to prove who is boss. Although some of Poison the Well’s fans had left, the 200 or so left standing were treated to some of Hatebreed’s finest moments. Even material from its Under The Knife EP and some obscure, early tracks found their way onto the setlist.

Jamey Jasta’s abundant energy led the band through a quick set of original material. Guitarist Lou Richards and bassist Chris Beattie displayed more energy during the brief set than most bands do in their lifetime. After two full-length releases, a slew of vinyl releases and appearances on numerous compilations, the band was rife with anticipation to play music from its new album, which also caused some serious circle pits.

Hatebreed’s latest album, featuring such standout tracks as “Spill the Blood,” should make more than a few critics’ top 10 lists and top the CMJ Hard Rock charts for another couple of weeks. If you’re looking for the soundtrack to your next act of vengeance, you’re gonna have to own this one. Let the blood spill.

(SN&R)

Flying by instruments

Eddie March 7, 2002 0 Comment

The stars must be aligning in all the right places for drummer Zach Hill and guitarist Spencer Seim, aka Hella, arguably Sacramento’s most explorative instrumental group. After only a few months on the scene, the duo landed a deal with 5RC, an imprint of the Olympia, WA-based indie label Kill Rock Stars, which in turn recently linked a distribution deal with Touch and Go Records—just in time for Hella’s magnificent debut. Hold Your Horse Is will be out on March 19, but Hella will have copies for sale at its March 9 CD release show at the Capitol Garage. Also on the bill are labelmates Xiu Xiu, Godzik Pink and Slimmoon, which are touring the country together. If you’re looking for a diverse bill with a cross-section of indie fare, you best get yourself down to the Garage at 1427 L St. The show starts at 8 p.m., cover charge is $6, and the show is all ages.

(SN&R)

Tapa the papas

Eddie February 28, 2002 0 Comment

Spanish band Migala will make a rare appearance at Old Ironsides this Saturday, March 2. The Madrid-based band’s latest release, Arde, which came out last summer on Sub Pop, features some of their friends from the boutique indie label Acuarela Records, which released Migala’s first two discs. Migala fuses swaying rhythms and beautiful spoken-word rants over delicate clean-channel guitar, as demonstrated on Arde’s “Suburban Empty Movie Theater” or the lovely “El Caballo del Malo.” If Tindersticks met up with the Aqua Velvets in a dark alley, this band might be the result. Also on the bill are For Stars, a San Francisco band that records for Future Farmer (which has released discs by Jackpot, The Mother Hips, The Toadmortons, and numerous Bay Area acts), and Victory Gin, Sacramento’s closest relative to Jeff Buckley or Sonoma County’s sadly defunct Mason Lane. The show starts at 9:30 (get there early to catch Migala), door charge is $7, and the show is 21 and over. Old Ironsides is located at 1901 10th St.

(SN&R)

La Makita Soma

Eddie February 28, 2002 0 Comment

La Makita Soma, a mostly instrumental five-piece band from Chicago, is all about the vibes. The vibraphone, that is. Unlike Mercury Program and such fellow Windy City post-rock acts as Tortoise et al., LMS might have worked as a score in Orwell’s original 1984 film adaptation featuring John Hurt. Occasionally the group dips into prog-like jams reminiscent of Magma, early Kansas or Gong (“Lexington & Campbell”), then enters indie-pop territory on “South on Western.” At times, there’s even a 5ive Style influence. Travis Stewart (guitars, vibes, trumpet) and Mark Ludemann (bass, vibes, keys) are able musicians who effectively meld disparate instruments with great effect alongside Derek Irvin (drums), Dan Snazelle (keys, bass) and Todd Marek (keys). “Spaceship” even features a nice freestyle by Hi-Fidel. After all these spaced-out keyboard jams, you may want to ease up on the pharmaceuticals.

(SN&R)

Slayer in the city

Eddie February 21, 2002 0 Comment

Opening for Slayer must be the pinnacle of any self-respecting hardcore or metal band. Unfortunately, a Slayer audience is extremely hard on bands that don’t cut the mustard. An endless barrage of expletives and middle-finger salutes usually follows until the poor band’s only saving grace—its final song.

Diecast, a five-piece hardcore/metal combo from Boston, handled the task during a recent show at San Francisco’s Warfield Theatre with considerable ease. Showcasing material off its latest CD, Day of Reckoning, Diecast plowed through 30 minutes of well-calculated mayhem. The band’s subject matter—apathy, inner persecution, perseverance, unification—worked well with the crowd.

Singer Colin Schleifer commanded the stage with considerable bravado. Such tracks as the bludgeoning “Disrepair” and “Singled Out” sounded larger than life; unlike most opening bands, Diecast was treated to an extraordinarily good house mix. Drummer Jason Costa, the only long-haired boy of the bunch, looked like a shoe-in for the vacated Slayer drum throne rather than the drummer for an East Coast hardcore outfit. Costa’s warp-speed double-bass patterns and—get this—traditional-style drumming (e.g., Buddy Rich, Gene Krupa, Art Blakey) were bludgeoning to say the least. Diecast’s dual-guitar assault set the Warfield Theatre ablaze and rocked the house into submission.

This show signaled the temporary return of Slayer’s original skinsman, Dave Lombardo, who’s been busy with spazzcore heavyweight group Fantomas. Opening with “Disciple,” a track from last year’s God Hates Us All, L.A.’s original spawn of Beelzebub and hell’s house band, Slayer, proved that it’s still the progenitor of death metal. Guitarists Jeff Hanneman and Kerry King, aided by a wall of Marshall stacks, traded leads during such staples as “South of Heaven,” “Mandatory Suicide,” “Hell Awaits” and “Angel of Death,” the night’s closer. Even such obscure tracks from an early EP as “Captor of Sin” and “Chemical Warfare” sounded fresh and alarmingly updated in the live setting.

Perhaps the only disquieting factor was singer Tom Araya’s lack of enthusiasm. Sadly, his father passed away during the tour; the band postponed several dates before its Warfield show. Although Araya didn’t make mention of his recent loss, it was apparent than he wasn’t ready to partake in his usual between-song banter. Fortunately, the enthusiasm of the crowd and the performance of the entire band—Lombardo in particular—more than made up for any of Araya’s facial expressions and sparse rapport with the crowd.

To this longtime Slayer fan, the band’s work ethic and ability to carry on was impressive—as was Araya, who didn’t hide his emotional pain under a death-metal guise.

(SN&R)

Entombed

Eddie February 21, 2002 0 Comment

Since Entombed first hit the metal scene with its debut album, Left Hand Path, this Swedish five piece set the standard for death metal to come. Morning Star takes the best moments of the band’s Wolverine Blues period and adds a few rollicking affairs. From “I For an Eye” to the nihilistic “About to Die,” this album is amazingly groovy, yet displays an unrelenting death-metal vibe. Frontman L.G. Petrov can indeed sing, and he sounds quite convincing on such moments as “Fractures” and “When It Hits Home.” And while former Entombed skinsman/songwriter Nicke Anderrson may have written some epic songs in his time, as evidenced on this latest longplayer, guitarists Alex Hellid and Uffe Cederlund can more than hold their ground in that department. Fans of the Crown, Sodom, or German thrash metal should eat this up like slobbering dogs.

(SN&R)

“Whale meat again,” said the bo’sun

Eddie February 14, 2002 0 Comment

I’ve always enjoyed taking in multiple shows in one night. Maybe it’s my inborn need to claim a duplicitous identity. On this Wednesday night, I happened to catch Laurie Anderson, perhaps the world’s greatest solo performance artist, at UC Davis’ Freeborn Hall. However, it was the act that followed that piqued my interest and revived the other five senses.

Call Me Ishmael, Sacramento’s latest entry into neo-psychedelia, was playing at Harlow’s, on one of local Alive & Kicking publisher/promoter Jerry Perry’s Wednesday night local-music showcases. After only a couple of months of testing the waters, it would seem that both the reception and attendance have grown considerably.

Led by lanky frontman/guitarist Brian Valenzuela, the band launched into songs off its recently released CD, Listen. Keyboardist Andy Babcock, sporting a low-rider seat, nestled himself cozily at stage left and set the somnolent vibe that characterized my favorite part of the band’s sound. Drummer Robby Dowd set up sideways, close to what a standard Medeski, Martin and Wood stage diagram might look like, and Nate Webb held court with some steady but assertive basslines.

At times, keyboard/guitar breakdowns mirrored those of early Yes or Genesis, only to be disrupted by swinging rhythms that occasionally meandered off the beaten track. However, the band’s finest moments were those where it threw out traditional song arrangements and simply let whole keyboard notes and ambient guitar noises take over. Remnants of Daniel Lanois’ more ambient moments, coupled with Pink Floyd’s soundtrack years, crept through the main speakers. Although maybe a bit mature for a typical, beer-drinking Harlow’s crowd, Call Me Ishmael’s ideas were on the right path.

When the band did kick into gear, Brian’s voice sounded a lot like Frank Jordan’s Mike Visser, or perhaps a disenchanted Jeff Buckley. Call Me Ishmael’s overall sound is quite comparable to Frank Jordan and Pocket for Corduroy’s more introspective moments; it’s as poignant as it is compelling.

This introspective and innovative band is a breath of fresh air for the Sacramento scene and should be investigated further. These guys are still young—a good guess is that their median age is around 22 to 24. But I’ll bet that Call Me Ishmael will become a major force to reckon with by the end of this year.

(SN&R)

MDSO

Eddie February 14, 2002 0 Comment

You’ll have to ask MDSO what the acronym stands for. If lyric content is any indication, it probably has something to do with oral sex. But if there’s one band in Sacramento that could make Tipper Gore turn in her Saks Fifth Avenue pumps, it’s MDSO. Fronted by the spicy Kahlil Hedrick (ex-Funky Blue Velvet), this four-piece has been creating quite a stir in the punk community. Drummer Don Segur, bassist Joe Hedrick and guitarist Chris Koskela hold down some of the best grooves since the sadly defunct Spinach, Diseptikons and Biscuit. MDSO refuses to stay within any confines, fusing tribal Faith No More beats with galloping punk-rock rhythm à la early MDC, Dead Kennedys and Oakland crust-punk. Hedrick’s lyrics are absolutely hilarious; topics range from the wonders of the penis (“Shoot-out”) to such rear-entry odes as “Cackwhiff.” “Slutdick” features a cool Slayer/24-7 Spyz medley.

(SN&R)

Eyes Adrift: Three alt-rock vets play Harlow’s

Eddie February 7, 2002 0 Comment

Maybe I’m a tad pessimistic when it comes to all-star bands, having seen too many of my childhood icons blow their collective wad in side projects that, unfortunately, never grew beyond their beginnings. After all, who wants to see a band that functions solely around their main band’s schedule? Once more, the term “all-star” has become increasingly subjective and, much like the big league equivalents in pro sporting events, become synonymous with failure.

However, the Eyes Adrift show at Harlow’s, featuring Nirvana bassist Krist Novoselic, along with guitarist Curt Kirkwood from the Meat Puppets and drummer Bud Gaugh from Sublime and Long Beach Dub Allstars, laid to rest any notions that this band is either a side project or all-star amalgam. Instead, it highlighted three musicians whose travels and subsequent tours have yielded musical and friendship bonds that are painfully apparent.

With an original set list that including such working titles as “Sleight of Hand,” “Inquiring Minds,” Untried” and “Telescope,” Eyes Adrift gave complementary nods to traditional country, rock, surf music and even blues. Kirkwood, long absent from the scene, assumed the majority of vocal duties, while Novoselic sang lead on two tracks and sang back-up vocals elsewhere. Novoselic and Kirkwood smiled adoringly throughout the evening, perhaps astonished that the group came to fruition.

It was damn near impossible to not be overwhelmed. After all, Novoselic did play bass alongside Kurt Cobain and Dave Grohl on one of the most important albums of the 20th century, Nevermind. I couldn’t help remembering his last performance in Sacramento, when Nirvana played the Crest Theater with Dinosaur Jr. and local act Kai Kln in 1991. Gaugh, whose tenure in punk/reggae legend Sublime was cut short by singer Brad Nowell’s death from a drug overdose in 1996, still managed to forge Sublime’s name into practically everyone’s subconscious with such hits as “What I Got.” And while it took MTV’s Unplugged sessions, with Cobain’s plugs, to tip off the larger world to Kirkwood’s distortion-laden Meat Puppets, the Arizona band was a huge influence in indie-rock circles well before Nirvana.

Eyes Adrift restored my faith that there still is music made for the soul, music made for the moment. Its appearance, one of a handful of dates the trio played, exuded all of the qualities of a good rock ’n’ roll show.

The band ended its set without an encore and proceeded directly to mingle with the audience and sign autographs. For a moment, you could even see a special glow cross their faces.

(SN&R)

King Diamond

Eddie February 7, 2002 0 Comment

From the first Mercyful Fate album, falsetto frontman King Diamond grabbed the goat by the horns and exerted control over his bandmates. On his latest effort, he and his rotating band of metal gypsies—only guitarist Andy La Rocque remains from the original lineup—seem more focused than ever. Diamond continues his Abigail album concept, and the package features a family tree for his satanic minions to admire and gloat over. Abigail II: The Revenge tells the story of a broken household marred by the memory and presence of the stillborn Abigail La Fey; the imaginary La Fey dynasty makes for an interesting tale. Fans of King Diamond’s earlier albums—Them, The Portrait should headbang to the rapture made by the rhythm section of bassist Hal Patino and drummer Matt Thompson. And give any man credit who can weave evil tales without sounding like W.A.S.P.’s Blackie Lawless in a vacuum. KD rules.

(SN&R)