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Mike Ritchie

A Sinister Approach to Found Footage Genre

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From the producer of Paranormal Activity and writer/director of The Exorcism of Emily Rose, Sinister is being marketing as a horror film which it is but is much more than your run of the mill haunted house story. Its part horror, suspense, psychological thriller, supernatural ghost story, true crime drama and even part snuff film.  It gives plot nods to The Amityville Horror and in smaller extent The Strangers. Ethan Hawke plays Ellison Oswalt a true crime writer moving his family into a murder house so he can write a book about it and re-ignite his career.  The local sheriff’s none to pleased or happy with their presence given the former residents demise and Oswalts reputation and best seller Kentucky Blood.

It’s a different/unique take on the ‘found footage’ genre, having the main character find old home movies stashed up in the attic. The audience watches the strategically placed Super 8’s with him throughout the movie sharing his feeling and emotions. Some start innocently with family get-together’s but end up gruesome. The films grainy footage, high realism and creepy melancholy ambiance give off feelings of hidden discomfort watching them through windows or witnessing a creepy crawl in their homes. A few reels in we see Mr. Boogie. Hawke’s character slowly tries to put the pieces together as things happen around the house from bumps in the night to ghostly projector running. We watch as he slowly starts to mentally unravel while his wife deals with his bizarre behavior and the situation’s influence on the kids. Despite some drawings on the wall the scares for the most part are creative and original.   Past and present events play with his conscious showing an inner struggle questioning his own motivations and the building driving/obsessive desire to know more about what happened and why. Has he written true crime for his own personal gain and legacy or an honest desire to bring justice to the victim’s?

The supernatural element picks up mid-way and the music makes the movie just as scary and perverse as the plot.  We hear subtle background voices whisper in Oswalt’s ear as he creeps around the dark house and genuinely uncomfortable music and effects in the projection scenes, planting a subconscious toying suggestion, though the box was meant to be found, you’re really not supposed to be seeing this. With help from one of the local PD he slowly gathers information on the entity, its purpose uncovering a pattern. The entities appearances are creatively strategic as one might expect to see it waiting in the corner when a character enters a room or a door is closed. Sinister’s ending is dark, twisted, ballsy and disturbing even making movie sleuths ahead of Hawks character think, are they really going there?  Then again how many true crime stories have happy endings?
Much of the tension is built on slow burn suspense and anticipation of what might or is about to happen. There’s of course a few jump scares but many you don’t see coming. The movie will genuinely disturb some people. Several scenes are Saw level violent which isn’t completely expected heightening the impact.  A lot of Sinister is what your mind might conjure up while reading a true crime novel of the movie, put on screen.  One of its great elements is the combination of supernatural/gore and real life horror. To a certain point the movie happens in a real life setting. Hawke’s character doesn’t succumb to the stereotypical actions a character/victim usually does instead comes off real, like a normal guy who happens to write about unexplained, gruesome events and is watching/experiencing them himself.

Confirmed Dead Dick Hammer Sighting at Daddy Katz

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In a year of predicted end of the world prophecies and reported zombie attacks it only makes sense that the epidemic of the undead makes it way to Ohio, in October no less. It appears some of the undead where purposely brought here for our entertainment. It’s been proven that some zombies still have the skills and talent they died with and can still move with reasonably descent mobility and rock star swagger.  They even play nice, unchained walking around, mingling with their human foo…, counterparts patiently watching them willingly lower/weaken their defenses with strong mind numbing beverages.  Throughout the show there were several patrons that slowly with particular unintentional precision began imitating the walking dead resembling the awkward pace established in many a zombie flick. Whether this mirrored behavior was some kind of voodoo zombie dust used by the band to ensure a midnight snack isn’t clear.

But what I can say is, everything was cool when I left, what happened after, I can’t account for. All I know is that I woke up in one piece, unscathed. I’ve attempted contact with several other people without luck. Memories are still foggy and I have dream like memories of an older gentleman running around half crazy before the alleged attack and Dead Dick delivering a baby on stage but then again, someone could’ve put Zombie Absinthe in my Coke without me knowing.  After a few pots of coffee and several email queries later the following is my best recollection of events that transpired. I can’t accurately describe or prove everything that happened that night really did but as a journalist I have a public duty and commitment to the truth that must be adhered to. So… this is what I remember.

 

The Loveless

Daddy Katz, next door to Truth & Triumph Tattoo is a retro shop specializing in vintage antiques, costumed culture and everything and anything cool brought in the best local rockabilly, blues and country acts Saturday October 6th for a crowd of whooping, hoot n hollerin’ good ole boys, hot inked up biker chicks, some nice kittens, a few skirts, a broad or two, a few greasers and of course…. zombies.  Kinda like Roadhouse but everyone was ‘nice’. The bonfire was blazing and the party was jiving in the old backdoor garage tonight.

The Loveless, named after Willem Dafoe’s first movie was the first group to perform with Dead Dick watching quietly in a dark shadowed corner. The three man jam started out feeling a little Devilish. Guitarists Bret Cottongim’s wolverine sideburns were shaved razor sharp ready to fend off attacks if needed. He did some fancy finger dancing on HellBound, Dead End and the Dead Dick Hammer approved Grave Robbin’ about a doomed cemetery snooper and his girlfriend going to a cemetery lookin’ for a dead rich guy and he ends up diggin’ his own grave. Never trust a dame in a graveyard slick. Upright bass player Tommy Kirkendall plucked the thick strings with precession ready to use the grandfather violin as a club if necessary.  Happy days were back again with some easy ridin’ rock and blues with a southern twang.

Miss Cherry Lee and the Hotrod Hounds

Up next for your listening pleasure ladies and gentlemen, Miss Cherry Lee & The Hotrod Hounds. Opening up the first three numbers, stood the man in black (from the waste up anyway). Then Miss Lee made her entrance singing with the spirit of Rockabilly’s first lady Wanda Jackson with a sassy, sultry, swing.  They played tribute to the pioneers and forefathers of the genre as they rocked this town back to the good ole 50’s. She takes Kim Lentz’s fiery redhead flare on The Swing. She preaches from The Dresser Draw Bible (there’s no failure to communicate here) before they break out The Great Balls of Fire and watch Johnny B. Goode.  Tonight everybody’s got Rockabilly Fever and Miss Lee and The Hotrod Hounds mark their turf leaving us Breathless.

For those who’ve seen his face and lived to tell about it there’s an old legend that goes somethin’ like this. October 30th Richard Hammer and his trio, going to the biggest gig on their careers ran into some bad weather and somehow ended up at the bottom of the Green River. Now many many years later, freshly scooped out of their graves and ready to resurrect music from the evil clutches of the mainstream, Dead Dick Hammer and The TBA Band have returned to wreak havoc and bloodshed. But Richie wasn’t always a Dick, back in the day he was an honor student, big brother, on the glee team and captain of the football team. Later he relocated to Memphis and was a studio musician for some of the biggest names of the time, but due to copyright can’t be mentioned, (I would’ve asked but he flashed his rotting teeth smile at me stinking of fresh meat and I took the hint).  After his awakening his devoured his squeaky clean image turning into the dark, psychopathic, perverted, heartless but surprisingly well behaved Dead Dick we saw in front of us. At least while the crowd outnumbered his band anyway.

Dead Dick Hammer

Dead Dick’s biggest fan, a young lady of grave cadaverous beauty Miss Doreen Laveau tragically took her own life after the accident near the location of The Trio’s final resting place at Wells Family Cemetery in Temple Hill Kentucky. Such fatal devotion didn’t go unnoticed when Dead Dick and drummer Dr. (Doc) Kong unearthed her and through unknown/nefarious means gave her, her step back. Some say she was taken to a castle and electrified on a dark stormy night, but that’s never been proven. Now she plays bass next to her hunky, honkytonk hereafter hero like a good little living dead girl should. Undead drummer, Dr. Kong from parts unknown, actually he hails from the deepest darkest parts of the Amazon, and yes, you should believe him. A licensed professional witchdoctor by trade and this is what he said to me, he said…. well not much really besides grunts and ting tang walla walla bing bang. He deviously smiled at me reaching into his overalls so I stuck a business card in his mouth and ran.

 

Skull 13 makers of cool shot glasses, kreepy key chains, magnets from hell and other just plain weird stuff proudly presents straight from the cemetery gates of Plot 13 (gotta love irony) and the dirty dead six feet under south comes the rotting psychobilly creatures of undead dread Dead Dick Hammer & The TBA Band aka The Embalmers, for the Dayton show. He lets the crowd pick a new band name every show, lets them think they have some power over him. Leaving a dirt trail behind them with every step they played a set of high energy, nasty rock n roll hits and near victim misses. He thanked everyone for not shooting him in the head, yet. Performing with the slick swagger of his passed on pal The King, electric gypsy teeth playing of the wizard (he doesn’t eat nonliving things) and the classic duck walk of ole Mr. Maybelline. He also played guitar with a bike wheel. From what was left of his throat and vocal chords after a career’s worth of Jim Bean compounded by rot came the voices of a few famous rock n roll misfits including Glenn Danzig, the King of Graceland, and a little bit of Randy Travis. One look at Dead Dick and we have the unwanted answer of what Mr. Travis will look like, ten years after his demise. They brought along hell’s version of the good old time gospel hour. Dead Dick Hammer could very well be the darker more animated version of Hank Hill.  He promised everyone that came up and participated wouldn’t be followed home and stared at through the window.

The whole gang at Daddy Katz

They played a death defying set of daisy raising originals like My Baby She Like It Rough (a TMI tune of his personal life). Then came the Res-Erection the hard rock thumpin’ CD opener, the You-Tube friendly Last Call and another TMI tune from the black lagoon. They play an ode to poor sweet Annabelle and another for Sweet Sweet Connie, Dick promises he won’t hit cha but he will do something else.

All in all it was a great night of country rock n roll, drinkin’ and well behaved (for the most part) zombies. Representatives from Truth & Triumph were stationed, guns ready to give Mr. Hammer some new ink or slow him down in case he decided to give chase.   Skull 13’s other worldly connections came through and Dead Dick Hammer came to Dayton.

McGuffys Hosts Project Independent

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Project Independent the worlds ‘only’ independent metal showcase brought it’s traveling talent search to McGuffy’s, it’s only Ohio stop besides Cleveland, Saturday September 29th critiquing 6 bands each vying for a shot at the next level of competition and the coveted spot of Project Independent Featured Artist. Since its inception in 2006, founder/CEO Jeff Totten, a former member of Indecent Xposure and Raising Cain has traveled the world looking for the newest and hungriest home grown talent ready to show they’ll do whatever it takes to succeed. 2012 has taken P.I. across the country making forty-six stops choosing winners each night through a strategic point system based on musicianship, showmanship and workmanship and the competitions fierce for one of the richest prizes in the Indy scene.

To get on the list all Showcase Artists must register, make a deposit and presell tickets to earn spots. Totten says it’s the first step in seeing how much they’re willing to work for it. In return all performing artists receive promotional materials, special offers and are eligible to receive promotional air-play by Project Independent Radio. The day of the show bands are given a thorough 90 minute workshop explaining P.I., its history and a breakdown of the critiquing system. Included is a straight forward no BS discussion about industry issues on the business side including trademarks, copyright and distribution, and the roles of agents, promoters and venues. Totten warns you must be emotionally, mentally and psychically ready for this business and all the rigorous pitfalls and temptations that come with it. Many bands think they’re ready but they don’t have a solid understanding of the business dynamics. If fact he often tells musicians if you’re not serious and can’t handle it, quit, because down the road of success ‘THIS’ is what awaits you.  Totten wants bands already operating with a professional mind set and mission statement with their !@#! together that he can mold/prepare for professional opportunities that will draw people and numbers. He looks at how much they’ve already done on their own. He’s not looking for the weekend bar band.  He wants the next national/global touring act that wants to become household names. After each night’s Showcase he discusses his critiques with each band. So at the minimum all bands have written/verbal advice from a touring industry professional on where they are in terms of song writing, structure, performance, appearance and what they should do next.

The business is a lifestyle and he wants an artist that will represent the genre well.

In-cohesiveness is not an option. The industry is always changing, transitioning, adapting to new trends and of course… always looking for the next big thing. Speaking of, the best artists from each event will advance to The Final Selection Process and a shot at the Holy Grail of Indy Metal. The winner will be chosen in December determined by their Showcase Critique Score, An Industry Panel of record moguls, producers, touring musicians and fan voting….(no pressure). Voting polls open 12/01-12/30. In case of a tie, the artist with the most fan votes wins and will be announced as The Project Independent Featured Artist of 2012 on January 1st.

Prosper

The winner will receive a 60-day promotional tour with headline performances at each Showcase venue and a $5000 cash allowance. In addition they’ll get an industry showcase at The Whisky A-Go-Go in Hollywood, a crowned jewel in itself. One full length retail ready CD with 8-panel, Full Color On-Disc Printing, Barcode, Spine Label and Shrink Wrap. Distribution on Amazon, I-Tunes, You-Tube, Snowcap, etc. including a digital store with downloads, ringtones, CD’s and t-shirts. But wait, there’s more. Merchlive.com will offer the Featured Artist choice of $1000 dollars in Costume Merchandise. They also receive top quality equipment and upgrades from sponsors including but not limited to Peavey, Schecter Guitar Research, and PAiSTe.

So if you don’t think selling a bunch of tickets and performing/playing your ass off for 30 minutes is worth that then you’re definitely in the wrong business. Totten and crew told a few stories of band fights on stage and a particular sobering one about a band whose singer disappeared and the band had to cancel, two weeks later he was found shell-shocked saying he couldn’t handle the pressure. See, all Showcase Bands are not only performing for the crowd, fans and Project Independent, at each show there’s a four camera free webcast streaming live the whole night. So on any given night, 50-80,000 plus around the world are watching.

At some point Totten wants to produce bio segments about the bands, filling the between set down time and eventually have a 24/7 web based music network. You know, what MTV used to be back in the day. If nothing else at the end of the night all bands know where they’re at and what they need to do to move forward. The most important thing Mr. Totten wants made clear is WE ARE NOT A BATTLE OF THE BANDS!!!!!

An impressive list of Dayton/Columbus locals and Kentucky, West Virginia and Maryland’s finest filled out the bill. The Showcase began with state capitol’s Prosper opening with an incredibly unique light, catchy groove metal sound. If such a term as heavy bubble-gum music doesn’t exist, it does now. Singer Xavier McAllister’s words were surprisingly clear and distinguishable in his harmonies and it bears noting he did actually ‘sing’. Though dressed in flannel and thick beard, he hardly resembled the clean cut, suit and tie pretty boy look he was vocally borrowing. Guitarist Sam Ralph resembles Shadows Fall’s Brian Fair with a slight haircut and played the Cemetery Gates inspired Empty with a little bit of Dimebag in him.  Bassist Adam (Tree) Watson used all of his 6’8 to make an impression. I’d say he stood in the background but anyone standing front stage center back to Burkhardt Rd would say he was the background. They played a set filled with youthful energy opening with Horizon, a tune that you’d swear you were watching a heavy version of The Wonders. Symphony of Sinners was next followed by Angel which may be the new power ballad of this generation and the dirty/slightly grimy guitar sound of Disillusion. Their sound is a consumption/corruption of bubble-gum, 80’s, early 90’s metal influences revamped with a modern day delivery.

Johari Window

Louisville Kentucky’s Johari Window stormed the stage ready to assault, rage and decapitate. They definitely brought out the Carcass tonight for all to see and hear in all its smelly, stinky, grindcore glory. Singer Connor Hill even borrows some pipe work from Jeff Walker, including clean melody and a few other choice demon lunged deliveries. It’s Deception At Its Best. Some slow, dirty chug hits hard granite breaking sound with sledgehammer strength. Connor stalked the front row die hards ‘showing love’ screaming in their faces and trading fist bumps. Hey, it’s how some metal singers show affection.  Betrayer slowly slithers up to you with its unexpected slinky ‘charmer’ beginning then attacks like a drill-gun to the head. Just to make everyone do a double take they break out a keyboard which Hill plays on The Begging Dead, quite possibly ‘the’ heaviest song in mankind’s history to bear piano notes. A Johari Window was a psychological tool invented in 1955 used to help people better understand their mental instability. Not a bad idea for a band name considering the five-some could cost any headbanging/thrashing listener a brain cell or two.

Deep from the mountains and rough, jagged terrain of West Virginia come Elohim. It’s time to get freakin hateful yells Gibby Haynes look-a-like Tyler Lowe as the rough, gruff mountain boys throw out a sound as loud, strong and potent as the special ‘shine’ made in them parts. They play with a rapid fire acupuncture delivery that sounds like Bigfoot trampling over some very large rock formations. Their music is like a pick hammer to the temple inducing granite clusters and minerals to fall from unscaled heights. Lowe’s beastly growls sound like what might be heard coming out of a dank darkened cave late at night. Lyrically their very in tune to the Demigods, in Monolithic terms of course. I mean really, how many polycephalic (more than one head) beasts and monsters are in the average metal bands songs? They very well could be the ‘gods’ of mountain metal.

Alright gear-heads, time to rev up the engines with Springfields biker metal’s answer to Overkill meets Chrome Division, Chronic Aggression. Singer Joe Stafford spits out a raspy Udo Dirkschneider/Bobby ‘Blitz’ Ellsworth style and seems to have perfected the art of slow motion headbanging. There’s plenty of Motorhead menace and attitude to go around. They play us on a blazing burning ride on the highway to hell and you don’t have to be cursed to feel like your skulls on fire. Opening with If Only they played ReverbNation tracks 6ft to the Rythm, Your Demise and What You Gonna Do. Guitarist Issac Shotts played half the set sporting sunglasses so the futures gonna be bright.

The 10th Hour

2011’s Project Independent winner The 10th Hour took the stage showing why they earned the coveted title Featured Artist. Having a unique almost un-namable sound, they play with the ferocity that helped earn them the nod of Totten and approval of some of Hollywood’s elite judges. They get to play almost every night spreading the holy metal gospel. The 10th Hour comes when the bell gongs, Bryan Hillis growls Zim Smith/Ryan Eiker thrash out a smashing guitar sound playing off each other trading riffs, solos and some comedic comeradery. They perform like they really feel the music going through them. A minute into the 10th Hour they’re Silencing Trepidation and the loud angry beast within trying to tear through. We get Apathy’s Embrace and maybe the only 51 seconds of the hour that’s not loud. They summon the Nexus of Your Fears and it sounds pretty scary. New tune and You-Tube video The Incarceral shows a slower, softer but still dark sound and the inner hell of addiction. Travesty sounds like you’re in an underground street fight smashing against stone walls. Their sound is a mix of fast paced, pounding guitars, solos, vocal screaming/yelling and harmonious singing. A very different mix of musical mind-bending for the poor soul standing ready with a label stamp. Their CD Tides of Despair is as intentionally diverse and changing as their stage show. Once you’ve got an idea of who or what they sound like, the next song starts and your back to zero. Maybe some frenzied frustration’s a good thing but none the less they’ve procured the 10th Hour sound to perfection. Several tracks deal with the struggle/battle/war with inner emotion and torment. Each tune is of a different variety and delivery but carries a certain lyrical gloom with a sliver or two of hope cut through the warped planks. Tides of Despair lets the music do all the talking.

We finish with Dayton’s Coffin Birth Conspiracy a spooky scary movie blend of sound and keyboards intermixed with the shrewd rebellious evil of youth. Beginning with Haddonfields Curse, its October after all. We all love Halloween’s most lovable, namesake, silent killing machine right? Though the throat of the band Ian Overkill, looks just old enough to remember the re-makes.  They spread Dark Pandemonium everywhere Through the Depths enriching the atmosphere with icy shivers and murky ambiance. They should be writing soundtracks for Italian horror movies. Taking elements of 80’s, black and symphonic metal they’ve mingled and mutated into a catchy sound for any stage or movie screen.  Next we hear Wilhelms Scream, the song not the sound effect. Wikipedia has all the details. CFC is a six person horror film showcase in itself, no costumes needed.

Nightwish Enchants Columbus with Imaginaerum Tour

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Friday September 21st the Finnish symphonic power house known as Nightwish visited Newport Music Hall and from the mile long lines it looked like the whole city knew about it. To ever question their drawing power on these Yankee shores would be a grave underestimation of their style and reputation. Maybe it’s the mystery and mystique of singer Anette Olzen that brought out curiosity seekers. I’m sure some long time diehards wanted to compare/size her up to former, long time operatic lunged founding member/singer Tarja Turunen. But fans can rest assured that though their a worlds difference apart in style, Olzen’s own unique voice holds weight backing up the classics as well as her own. It was a night of majestic story telling by both bands.

Kamelot performing in Columbus

Tampa’s power metal conceptual kings Kamelot opened the show walking out to an absolute frenzy of screaming/shrieking voices. Although three members are American and one German, thanks to their new singer Tommy Karevik they were welcomed as Swedish royalty. A night of eternal/infernal majesty was to be had by all. They played choice cuts from several storyline records turning Newport into a medieval ballroom fit for a mad hatters masquerade party. They Rule the World with the first note starting with a double deceased dose of Ghost Opera with Euro-siren Amanda Somerville standing tall above. Karevik takes the crowd in his hand, a black and leather clad Maestro who from a fine ladies POV is ‘smokin’ hot, makes full use of the stage furniture. We then go to The Center of the Universe. We return to the opera and learn the value of life on earth as The Human Stain. He does a manual crowd sound check and When the Lights Are Down the eternal darkness and illusion of Mephisto awaits in the Dark Halo. Then it was time to celebrate this years new CD Silverthorn with Sacrimony, their third concept album, with deep lavender locked guest vocalist Alissa White-Gluz from The Agonist screeching out the voice of 19th Century main character Jolee and Elize Ryd providing the clean soothing delivery. Be careful what you do in this life because Forever’s a long time to deal with Karma.  Gluz reappears stepping into Shagrath’s dastardly evil boots and leaves us with the conniving March of Mephisto.   Silverthorn will be released October 30th.

Formed in 1996, Nightwish were one of the first operatic style metal bands to use a female lead singer. Earning a steadfast/loyal home country following they achieved worldwide success in the late 80’s/early 90’s when 2004’s Once brought them their biggest US single Wish I Had an Angel. In 2005 Tarja was dismissed by open band letter for reasons heavily disputed. A long search commenced searching for a new perfect voice. Over 2000 demos later they decided on Alyson Avenue singer Olzen. The band released two singles Eva and Amaranth, to satisfy/wet fans appetite/curiosity accompanied by videos for Amaranth and another track The Islander. There 6th record 2007’s Dark Passion Play was released. This tour brings us the new conceptual juggernaut Imaginaerum who’s narrative tells us about an aging composer on his deathbed taking a trip back to his youth. A same titled movie version with similar story and themes is being made by The Islander director Stobe Harju.

Nightwish performing in Columbus

They played a nice long theatrical showcase of crowd favorites, choice cuts from Dark Passion Play and a few new stories from Imaginaerum to captivate the mind and please the ear. The lights went out over the full moon, casting illumination over the old man’s childhood dream-scape. The bagpipes played as the crowd unleashed a deafening roar,  its night wish of incredible symphonic metal story telling mastery and macabre answered. It was indeed Storytime, a lyrical and visual journey back in time to Never Never Land inside a childlike dream imperium. The first of Tarja’s tunes Wish I Had an Angel was greeted with great applause and enthusiasm for anyone ear judging. Olzen cranked out her introduction to fans on Amaranth. Then delivered the nights next bedtime Scaretale with its icy witches cackle and vocal taunts, filled with fiendish monstrosities and creepy crawly nightmare creatures reaching out with a crooked old vultures hand inviting the kids into the dark carnival with a tick tock, tick tock, tick tock. Lyrically it’s been called Nightwish’s ‘Enter Sandman.’ Speaking of creatures of the night we return to The Dark Passion Play for 7 Days to the Wolves. We then cross time and space to a 1930’s era jazz club on the Twin Peaks side of town for a Slow Love Slow and sexy sit down sing along. Guest instrumentalist Troy Donockley comes out to play the pipes on the next five tunes. For every fan that’s been seduced,smitten or fallen for Olzen’s voice they all say the same thing. I WANT MY TEARS BACK!  The slower animalistic ballad The Crow The Owl and The Dove flies over the Imaginaerum then we sit/stand around the fire as The Islander tells us an old man’s salty sea’s story bathed in the tranquil glow of cell phones and a few bic flames. The crowd wished for soothing rain and to dream again and thus Nemo came. Olzen gets a break on Last of the Wilds while the flute holds its own against 3 guitars, drums and a keyboard. The final act begins as we take a trip ‘Once’ to the burning world of our dark mistress to worship on Planet Hell taking an escape flight down the deadly Ghostriver but while we’re there we’re tempted to open a Dark Chest of Wonders with really weird things in it. From there they take us Over the Hills and Far Away, skipping over prison we take a second to last ride with Walt Whitman singing a long written Song of Myself hitting you with an ending sledge hammer with bells bombast. Then with the midnight hour approaching, dark clouds loom over the last dim lights of the Imaginaerum,   it’s creaky doors slowly clank closed and the last of the evenings passengers strap in for The Last Ride of the Day on tracks that never end.

The nights collection of  innocent childhood memories, dark fantasy and musical ambiance fade away as the stage lights go out. Songwriter/keyboardist  Tuomas Holopainen brings out sonic sound, the songs of angels and the breathe of the gods through his fingers. Gandolf looking Marco Hietala brings out the devil in his bass playing the creepy comical sideshow ringmaster to perfection. Emppu Vuorinen brought out the heaviest sounds and driving guitar narrative carrying the weight of such huge conceptual ideas and melodies. Jukka Nevalainen kept the beats pounding at a storied pace never letting the fans eyes drift off the proverbial page. Nightwish is a moving musical tapestry. We’ve all heard the term deafening crowd but for a venue it’s size, and the bands playing, I’ve rarely heard a crowd that loud.

If your curious about the movie it’s Finnish release is slated for November and loosely follows the storyline of the record. The first single released Storytime is a lyrical representation of the whole record and a cinematic video previewing characters and plot ideas from both can be seen on Youtube.

Special thanks to Lauryn Campanell for set list information.

REVIEW: Consumption Of The Heart/The Collective Volume IV Play Englewood Cinema

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Friday night September 28th local director Andrew Copp premiered the only Dayton theatrical showing of his new film Consumption Of The Heart. A 10 minute short that will be included in Jason Hoover’s upcoming collection of zombie themed films in The Collective Volume V premiering at the November Days of the Dead convention in Chicago. Filmed in two days Consumption is a living dead love story about a couple’s relationship on a downward spiral and how it’s changed when both undergo weird, mysterious physical changes which may or may not be caused by an outside epidemic.

Fans, viewers, local and regional filmmakers all watched taking part in a unique Q&A. Several pondered whether the broadcasted situation was the cause and if the resulting changes made a bad relationship better and drew the couple closer together in emotion and love till the bitter end or if it made a bad relationship worse with both deciding that even with the most dire of circumstances happening it was still better than going on as they were. Slyly, Mr. Copp wouldn’t reveal his true intent or message so we’ll just leave that to the viewer to decide.

Consumption takes a unique spin on the living dead genre and asks are they more dead or dying on the inside or out though the ‘consumption’ works on many levels. The music early in the film portrays the feelings of despair, physical neglect and being unwanted. Brandi Bishop does a great job of turning the situation to her advantage for better or worse taking charge and taking what she wants reawakening their passion and desire.  It could be considered the closest thing to a dark Harlequin novel that a blood splattered claustrophobic cannibalistic romance drama of the living dead can get. Mr. Copp seems to want certain questions to linger without answers and sometimes one’s own interpretation/enjoyment of the film ‘is’ the best answer.

Next up Jason Hoovers The Collective Volume IV: Emotions. This installment in the ongoing series features 10 short films 10 minutes long each showcasing a different emotion. Hoover never uses finished movies, he tells eager filmmakers what he wants and then they go out, produce and return with product. The collective covers a vast emotional gamut filmed in several cinematic styles each with its own creativity, story and delivery evoking a different response from the viewer.

3 O’Clock Productions shares the Regret of a genetic scientist who’s experiments take a violent and beastly turn for the worse in this unique crime/drama update of a classic horror tale. Liberty or Death Productions gets us all loose and filled with Lust when a female ghost hunter decades later visits the house of The Wedding Night Tragedy. She sets up equipment and starts to document and explore but slowly and surely becomes seduced by its spirited charms. Freakwolf Productions makes us Fear the dark and feel slightly awkward watching a not so subtle and creepy psychiatrist advice his patent on how to cure her fear. It’s all about taking baby steps my dear.

Dustin Mills Productions asks for Trust as the doomed main character scarfs down the most deadly Italian pie since Nightmare on Elm Street 4’s Soul Pizza. No worries though, ‘help’ is on the way. Over Analyzed Productions feels Envy with a blast of seedy street drama as Sara is jealous of her hot to trot working girl roommate Kate AKA Desire. After Kate goes out on call Sara takes a shot at customer service at the wrong time and ends up in the dubious clutches of the Crowe brothers but never fear Desire returns and an action tag team is born.

Winged Dolphin Productions tells the story of a sadists Schadenfreude. A somewhat bizarre take on Greek Mythology told with a deadly dose of dental dream analysis and sedative’s. Cinephreak Pictures is the Rage as we’re quickly reunited with the Hook Squad as Sara becomes Envy in this funny and action packed bullet flyin, jive talkin grindhouse thrilla.Seems Mama Crowe’s mighty peeved off about the demise of one of the brother’s so she sends out Brutus and his evil diabolical henchmen brethren to the warehouse to dispose of our heroic sassy gorgeous girl-power. It’s a beastly, juiced up, blood bath showdown for sure as Desire and Envy with new found help from a dice throwing killa pimp combat Mama’s sleazy spawn.  The chainsaw carrying, hockey mask wearing, HGH taking family’s pride and joy and the other hygiene challenged brother are ready to kill and mame. Not everybody’s comin home for dinner tonight.

Spiral Filmworks is in Denial as we learn about the most gruesome untold crime story of the early 90’s, the ‘true’ story of Martha ‘Grammy’ Louise Kemper the town church organist and nice old lady….. or so they thought. Told by narration we revisit the town,locations, sites and the house itself Six Degrees of Helter Skelter style while the gruesome, horrific, unspeakable discoveries and facts come to light about the truly sadistic, evil freak she was. Rivaling Gein, Dahmer and HH Holmes for over 6 decades Kemper amassed a staggering list of victims and a macabre museum of souvenirs. The film finishes with her trial, conviction and sentencing. Red Panic Button Films shows Hate a new face with a story of a destructive street punk loser that basically could care less about anything with a particular dislike for junkyard drivers side truck doors. He’s offered help and salvation mid way through but burns it in another act of rebellious pointless defiance. This one doesn’t have a pretty ending.

Last but certainly not least JABB Pictures causes us Grief by showing us the slow minute by minute, second by second basement torture of a guy who’s past has finally caught up with him and his poor completely innocent and unaware girlfriend. This short may be the biggest strain on the eyes making the viewer time conscious, appealing to fans of faux stuff films similar to August Underground. However this scene of circular torture may be the most impressive of the group considering the entire short is one continuous pan shot with no edits or re-takes. So all the yelling, screaming, dialogue and taunting had to continue for the full ten minutes and it was only shot once.

Hoover formed Jabb Pictures in 2008 teaching himself camera work, editing, producing and directing. His first film ‘Spike’ debuted in 2009 at HorrorHound weekend in Cincinnati and was chosen as an official selection at Fright Night Film Fest in Louisville Kentucky.  His second film ‘Polly’ debuted at HorrorHound March 2010. Receiving four out of five stars from several horror movie websites. With momentum on his side in March 2011 he started the Collective series hailed as the most unique short film collection of the independent scene. His first feature film is slated for an early 2013 release.

Consumption of the Heart/Collective Vol 4: Emotion Premiere at Englewood Cinema

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On Friday September 28 Englewood Cinema will showcase eleven big independent film experiences. Englewood is known for its yearly show of support to local filmmakers including Horrorama and featuring films that could be considered ‘slightly’ off the mainstream radar and older vintage classics that otherwise would never see the big screen again.

First up is local independent visionary, artist and Horrorama host Andrew Copp’s short Consumption of the Heart which will appear in the upcoming Collective Volume 5 collection. Mr. Copp is known for his deep, dark and diabolical approach to the camera creating graphic, surrealistic, unforgettable images, scenery and themes turning the most perverse/twisted idea’s into macabre beauty. His 1998 visually disturbing and brutal gore-splashed tale of self torture and blood lust The Mutilation Man ranks as an exercise in stamina for the eyes. 2009’s Quiet Nights of Blood and Pain is a psychological drama dealing with the post emotional/mental effects of heavy combat and the violence of the mind. In 2010 he turned his interest from exploring inner torture to the outer epidermis in the Tattoo Documentary Ink & Flesh featuring Dayton artist Chad Wells. Mr. Copp’s boldest and most controversial vision to date is the upcoming nightmarish, surreal tale of obsessive vengeance for a lost love taking a man’s mind, heart and soul to the brink of utter madness in Church Of The Eyes. Friday nights excursion into the drifting apart emotions and anatomical decay/physical deterioration a couple willingly experiences to rekindle the lost flame is a ‘consuming’ if not physically grotesque show of their true love and devotion to each other. The film is unrated but contains adult themes and graphic content and will be the ONLY Dayton screening.

Next up is Indie filmmaker Jason Hoover and Jabb Pictures fourth volume is a series of ten 10 minute short films by different teams each about a different emotion. Volume three was exclusively directed by women relating to the theme ‘ten minutes to live’. Volume four carries with it a wide variety of celluloid inspiration and degeneration. Featured film Bryan Wolfords Myctophobia is about a woman’s crippling Fear of the dark while David Ross’  black and white Greek import Flash of The Wire explores SCHADENFREUDE, Pleasure in the suffering of others. Two entries by Jason Hoover, Frankie-a take on Grief and the urban mockumentary 101 Taylor Street discusses Denial. There’s a saying about not drinking the Koolaid, well Dustin Mills’ Epidemic about Trust warns us to stay away from the pizza too.  James Mannan covers Lust and ghost hunting in Death Do Us Part. Jim Dougherty’s films Regret about genetic lycanthropy in Contrition, series staple 14 year old Dakota Meyer shows Hate in Luke 1:17. The collection ends with a double dose of grind-house humor about the worlds oldest professional with Happy Hooker Bang Bang, David Paul Bonnell tells the sordid tale of the Envy a girl has for her ‘working’ roommate while its street walking counterpart Jakob Bilinski’s Bloody Hooker Bang Bang: A love Story is all the Rage.

Several of the evening’s filmmakers will be there to sign copies and talk to fans. Friday night September 28th 11:00 pm $5 at the door 320 West National Rd, Englewood Ohio 45322. For more info go to www.facebook.com/pages/Independent-Shadow-Cinema/214329891916690, coppfilms.weebly.com,366weirdmovies.com and jabbpictures.com.

Heavy Lies The Crown Pummels The Shrunken Head in Columbus

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Friday September 14 in an assuming cozy bar nesting on the West 5th Ave side of town, four bands played an intimate performance that shook the walls of the redrum, err red painted rooms. Though no blood was spilled there was plenty of gore and violence spewed/hollered/screamed/roared/screeched/squealed from the stage to accommodate the nights musical debauchery.

Columbus has an Esoteric Agenda or at least four long haired metal freaks do. Their name based on a documentary about symbolism and conspiracy in society and their agenda was to open up the Sinister Elixir and play the loudest, most evil sounding technical death metal this side of the northern state. When your singer looks like kin to Testaments Chuck Billy and George ‘Corpse Grinder’  Fisher from Cannibal Corpse there’s really only one kind of music you can get away with playing. Singer Nick Larry inhabited the ‘very’ tight claustrophobia friendly stage making good use of the self brought strobe light. Hurling out straight jacket excitement from the deepest darkest corner of the insane asylum contorting into all forms of menacing screeching facial beasts unleashing the chained up tortured soul within. His head bouncing and twisting as if awoken in a Jigsaw booby trap.  The surrounding music gave praise to all that could be used in a ‘Hostel’ environment. A dual guitar audio onslaught free for all of airborne torture utensils and resulting noise splatter.  Fourth of six decibel shredders was The Mechamortal Eradicator about bringing an Assassin back to life with robotic limbs, for those that like their robotic synthetic engineering with a few pounds of flying flesh. Illuminating the Dogmatic Index can be heard on their Facebook page along with video updates and a live performance presumably in someone’s hard-core basement.

Now for something completely different as Dayton’s power trio Ex Luna Ut Terra (From Moon to Earth) set up shop opening with Death Stumbles Drunk on Its Way (we’ve all been there on a weekend night or two). An audible tribute to the basement sound of early 90‘s black metal, fitting given the singer/guitarist resembles Dimmu Borgir’s Galder minus the corpse paint of course. Their music can be described as black metal fused with psychedelic experimentation. Black metal meets Opeth with groove, Black Sabbath breakdowns with some slow carefully placed tranquility edged with a trippy 60’s feel. Mikael Akerfeldt would be proud. The slow stirring growling candlelight vigil with a bite feel of Soaring Above Moonlit Clouds followed by Last Sunset Seen Through These Eyes finished a uniquely cerebral set.

The second of a double dose of Dayton’s best, Lysura came on performing their debut set and show as a functioning band. Yet another musical project/incarnation of skins smashing madman Eric ‘Hammering Hobbit’ Barnes who has no less than five active bands going at any given time. Melodic Black/Death metal featuring former members of Acheron and Beneath Oblivion. Their set featured two Facebook tunes the underground echo bass line opening of Fusion Script and A Human Portrait not to be confused with King Diamonds Fatal Portrait complete with its monster crunching Sabbath tidal wave riff s accompanied by evil screeching vocals from hell’s underground. They brought out the darker side of what Opeth might sound like minus the slower parts if they were black metal inclined. Quite fitting in that screecher Max Otworth resembles a cross breed of a young Tony Iommi and Mr. Akerfeldt.

Now that we got all the nice family friendly metal out of the way its time to break out the animal decapitator and do some good ole fashion swine chasin’ as Indianapolis death metal flesh churners Heavy Lies The Crown break out a slaughter house wake up symphony that would put fear into any healthy livestock worldwide. Incorporating the very genre specific vocal style sounding like your hearing the last moments of Wilbur’s life. With 1000 beats a minute, carnivore munching guitars and a dinner bell clanging bass this is the kind of dirt road backwoods noise used to torture terrorists with.  Definitely not for light hearted folk but if your familiar and/or love bands like Suffocation, Cannibal Corpse or enjoy farmhouse documentaries this might be heaven on CD.

Scale The Summit At The Spitfire Lounge

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It’s been said that music is the universal language, transcending the spoken word and communication not just on an audible level but conveying emotion, unspoken thoughts, messages and conjuring images and pictures without a single utterance. Saturday night September 15th  at The Spitfire in Vandalia Winding Hollow Productions presented four bands that played the stage to an appreciative crowd with nary a word spoken and all performances were instrumental to the nights supreme musicianship.

Dayton’s very unique bass and drums two man band Shadows In The Hour Glass started the evening proving a great band doesn’t need shredding guitars or vocals to create a powerful sound. Illusions of Serenity opened with its creepy, eerie ambiance making you feel like your walking down a long dark tunnel and you suddenly feel like something’s behind you. Four string finger player Zack Ryan and skins striker Travis Abling display intricate knowledge and proficiency creating dark, deep malevolent musical stories with Ryan’s bass as the main character and Ablings beats as the surrounding plot. The frantic playing gives chase to images of feeling lost or being chased in trippy movie sequences. He creates suspense, melancholy, apprehension, fear and caution playing the strings at walking, running, sprinting speed with Chuck Schuldiner technical prowess. He can also make it gurgle as the atmospheric fog rolls in. When someone hears the term ‘band’ its widely assumed there are at least three instruments involved but Shadows prove that so much can be done with only a duo of sound. The hourglass of time runs waiting for no one while the shadows of people slowly start to fade as time runs away. Shadows was originally a side project by Covered in Scars bassist Ryan and C.I.S. drummer Abling but has become its own identity with elements of technical death metal, jazz and classical with a darker more sinister edge.

Dayton’s next experimentation into noise and sound I Died Trying was ironically the only group that did ‘have something to say’. Between the screaming hidden yells from the darkness of drummer Bret Newland and the frantic yelling/auctioneer-esque lyrics spitting of guitarist Tony Goff  I’m not sure what all was said but the music and pure performance of the show did all the talking. I.D.T. is a uniquely distinguished select taste of heavy music, constant tempo changes, audio samples and any and all types of guitar shredding, chopping, hammering, tweaking techniques. Kind of like watching a multiple car wreck in slow motion. Think Dillinger Escape Plan meets Cattle Decapitation with some Slipknot turn table effects. Imagine hearing all emotions and thoughts from the mind of a schizophrenic at P.A.volume. They attack your brain like a drug. Even though Goff took to the floor to sing a few number it’s not all in your face pandemonium.There’s tastes of Opeth and Godflesh to keep the variety factor interesting. The music is tough, angry, artistic and violent which is good considering Goff has a passing resemblance to MMA fighter Keith Jardine. I Died Trying is a musical hangover that keeps the ears ringing but keeps you out of the bathroom.

It’s a pretty universally regarded given that everyone likes great sax. Well Greensboro North Carolina’s Trioscapes are no different. In fact Walter Fancourt excels at it. Playing in the three man bass, drums, saxophone ‘trio’ they bring an incredibly different, catchy ‘rock’ feel to instruments usually regarded as in the background or more ‘laid back’. They Blast Off and for those who think of the slow, moody, sexy sound ,made popular in numerous mob movies Fancourt’s sound includes that, for a collective minute or two anyway. For the rest of the performance he treats the sleek brass piece like a lead guitar shredding the keys/pedals taking the instrument to its very physical limits. When Adophe Sax invented it in 1846 he wanted to create the most powerful single reed playing instrument there was. Fancourt has taken that vision to the literal pipe blowing edge with his own furious heavy style. With neck muscles bulging he summoned the air from the Woodwind Gods above and played a speed metal version of The Pink Panther theme…. for 30 minutes. Fancourts lip piercing pursuits speeds up, slows down, breathes out some sexy seduction, solos, bends notes, and makes it shriek, scream, wail, caress and cuss. This is classy ballroom/ smokey cocktail lounge music brought into the rock arena. He takes you on a mile a minute saxy conversation then puts you on a rainy street round midnight filled with smog and broken dreams. I’m pretty sure sax’s don’t have toggle switches but he’s found a way to create one. Bassist Dan Briggs thumped his way through the set creating deep Opeth on the Moore imagery. Drummer Matt Lynch kept the pace with perfect time and precession. Not every drummer has the challenge to ‘keep up’ with the sax player. Of the four songs played they closed with ‘their’ version of an Mahavishnu Orchestra song called Celestial Terrestria Commuters.

For those that remember the PBS show The Joy of Painting With Bob Ross know that with each painting it was just him, the paint and the story of what he creates. Houston’s Scale The Summit draw similar comparison. Their unique brand of instrumental rock leaves no room or need for words and they let the music tell the story and take us along for the ride. They deliver strong driving songs weaving long intricate stories. Chris Letchford and Travis Levrier play cascading chords creating lush, vast musical landscapes with scenic soloing. Bassist Mark Michell gives the moody depth and weight holding down the structure while Pat Skeffington pounds out the backbone keeping the story going. Many influences can be heard when it’s just the music. The prog sound of Opeth, unique catch of Tool, wizardry of Steve Vai with the technical style of Death all mixed in weaving and intertwined into their own musical novel style. They create atmosphere, space and time with narrative and hundreds of notes but each is part of the whole plot.

Tonight proved without a doubt that music is indeed the universal language no matter how light, heavy, complex or simple. When you have people in Iced Earth/Tool shirts rocking out to a guy playing saxophone you know you have an audience that’s open minded and appreciates great musicianship and delivery.     

Kiss and Motley Crue Bring ‘The Tour’ To Cincinnati

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Friday August 31 two bands known for their legendary histories of indulgence and decadence brought what some have called this years Metal Hall of Fame tour to Riverbend for a night of blasting noise, theater, spectacle, bombast, showmanship and just plain kicking the audience’s ass. Say what you want about Motley Crue, The Sunset Strips favorite sons gave birth to the scene back in the day and besides after all the partying, car crashes, OD’s, arrests, scandals, a few educational films, personal issues and drama that has followed them since the early 80’s it’s a freaking miracle their still alive and in decent health. But after decades of access they’re proving they can still put on a breath taking show and bring it like no other. Some have questioned Vince Neil’s voice but tonight he was in fine form with a flawless high pitched, cat scratch howl. Mick Mars can still play like a madman soldiering on despite his Ankylosing Spondylitis, an uncomfortable and painful inflammatory condition that mainly affects the joints of the spine. Tonight proved that only Kiss can follow Motley Crue live in 2012.

Many things have been said about Kiss but from shear staying power they’ve earned their place in music history and the two original members continue to defy father time delivering a rock show for the ages.With due respect to Ace and Peter Kiss’s 2012 show still carries the impact, decibel levels and visual wallop with Tommy Thayer and Eric Singer on stage. People talk about Gene Simmons a lot. Musician, rock-star, actor, author, publisher, business man, father (of presumably more than 2), reality show star, and in his early 60’s a happy newlywed. ‘The Tour’ is the first time since 1982 when Motley were just young pups that both bands have shared the same stage together.

Making their first trip to the states from Cambridge England openers The Treatment came out with pomp and circumstance determined to get the crowd to c’mon and give it all they had. Vocalist Matt Jones swings himself around on stage like he’s already been on Tommy’s coaster ride once or twice. He delivers a bluesy high pitched wail of what it would sound like if Tesla’s Jeff Keith sang for The Black Crowes/Buck Cherry or Velvet Revolver. Playing hard edged tunes The Doctor, the slower future arena‘lighter’ ballad Nothing To Lose But Our Minds, Departed (with a bang bang bang) and Shake The Mountain.

Motley Crue’s curtain drop reveals a stage empty of band members but full of machinery, industrial ambiance, a big screen with a large cold steel wheel with drum kit, 4 large hydro fans, and a long cane like mic for Nikki. The show itself has enough lights, fire and pyro to make Rammstein envious. The clock starts ticking away slowly as a very apropos Ministry song plays that if you have any knowledge of their history you’ll appreciate the joke. The tick-tock slowly gains weight and deepens into a grandfather pendulum foreshadowing LA’s finest 80’s export. Two large red cloaked figures with bull horns appear on stage ushering the ‘thru the crowd’ arrival of the evenings Co-Headliners. Marching in amongst the people carrying medieval Motley Flags, lead by William Wallace… err, another red cloaked figure followed by a scantily clad hot chick the Motley Parade start up the war path. A unique rock-star entrance brushing past mingling with everyday common folk but it’s the beginning of the nights show of friendly competition/delivery as the head-liners are the forefathers of good theater.

They launch into the autobiographical Saints of Los Angeles as trapezist’s twirl on long satin sheets and puppets hammer on the drum rails. Second song in we take a trip to The Wild Side in multi colored light and some hot gyrating dancers Vince plays with.We go next door to the dark side and Shout At The Devil in a sea of floating blood clot’s, hellfire and spinning pentagrams. Out comes a young lady in a large Victorian dress, after asking if she’s single Vince asks the obvious question taking a peak as two more hot chicks emerge (it was a large outfit) one gives him a guitar while the other in S&M gear leads the properly dressed lady away. Yep, every night, Same Old Situation. You’ve seen the video. If you’ve followed them at all you know for 31 years it’s been all about the sex; so leave it to the Crue to put on a live Sex show with side stage spray gun shooters to relieve the crowd, ending in an on stage sex scene literally spelled out, and if you don’t like it Don’t Go Away Mad Just Go Away. The cascading white lights bounce off the silver tiled piano that magically appeared. After an emotional band fist bump, Tommy intro’s the monster laser light lit ballad Home Sweet Home.

Next up your average Tommy Lee drum solo with a 360 degree mini roller coaster chair, enough noise and music samples to give the hippest DJ a brain aneurysm. Plenty of split second fire visuals and…. oh yeah, Tommy Lee beating the crap out of his skins while an ego sized version of his hand pulls him up the hill. Luckiest fan of the night Roger got to ‘hookup’ and play sidekick behind Tommy on the roller coaster of love for a minute. Tommy asked if he came with his girlfriend, wife or a hooker. Next the song and video that started it all Live Wire. Followed by the Primal Scream of everyone in the pavilion ending with a cannon ball boom. It was finally time to Feelgood and call every junkie’s favorite unlicensed medical physician with straight jacket dancers dangling from the ceiling. Then the motorcycle engines roared and they played the national anthem for working girls across the country with Mick Mars Kickstarting a solo into  Niki’s tale of near death experience. The Motley Crue of members and performers bowed as the madness ended (for about 30minutes anyway). Next up, a little band from New York you might’ve heard of formally called Wicked Lester.

….Anticipation builds. Then… the lights go out, the sky darken’s as the heavens open and the Gods and Deities of all things rock n roll and good taste look down upon the Southern Ohio congregation of ‘The Army’  smile, nod and wave a blessing over tonight’s show and thus another night of K(h)isstory begins.

We get a little peek at the nights horror movie hero’s walk the walk backstage. The large silver emblazed logo lights up on the big black curtain as the roar begins. CIN-CINN-ATI!!!!……. You wanted the best, you got the best. The hottest band in the world….. KISS!!! Curtain falls as the famous hydrolic platform descends with rocks living breathing comic book characters standing triumphant ready to play and annihilate with all the lights, flames and bombast you’d expect from a Kiss opening; and for the first five minutes Cincinnati becomes Detroit Rock City. For those who still had a voice left afterwards Paul told us to Shout It Out Loud. The crowd was definitely having a party but just to be sure he did a sound-check wanting to hear all the wild animals out there, because no other band gives it to you or Loves It Loud right between the eyes. Next, sirens go off, a raging inferno erupts and the whole place goes up in flames. It was already hot as hell but Kiss brought out the heat, frenzy and adrenaline of the Firehouse complete with Gene grabbing his sword spewing holy fireballs.  They intro a brand new one from the upcoming Monster album, and I’m sure it’ll be a monster album called Hell or Hallelujah. Accompanied by an on screen sinful seductive fire angel and the red flame licked gates of the netherworld. Lights go out.

Then…..a low, deep hellish crunching, clanking bass-line comes out of the darkness like the hammering and riveting of steel girders taking us on an uneven, jerky, curving roller coaster ride of twisting steel and rusting iron. ‘A moment or two’ of impending silence before the ominous Demon appears standing front stage center as the fog slowly creeps towards him surveying the dripping masses, listening to their praise. He leans forward peering at the closest of his disciples as green light illuminates his armor looking like the Emerald City’s favorite dark knight, his timeless black n white image on the screen resembles an old graveyard spirit. A group of dead pirates wander the stage behind looking for a lost gold cross….., not really, but I’m sure they could find a way to pull it off if they wanted to. The Rock God’s face quivers and shakes going into conniption’s of earned evil glee as a haunting church bell gongs releasing a river of red pouring from his sinister gape the performance turning his howling face into a possessed savaged soul. After the world famous ritual was done he stood silent and still, hands folded, showing off his stained ghostly visage to our enraptured eyes, but more importantly our camera’s and cell phones delight. He sneered, smiled, the worlds most infamous tongue making a licking appearance. He posed ascending to the Riverbend’s highest plateau. The God of Thunder, Rock n Roll and lord of the wastelands played to his minions as they worshiped. Tommy Thayer played the solo as the blood spewer returned to his earth bound position.

They pull out the Love Gun and The Starchild flies solo across the human sea  visiting the crowd on the other side for a few minutes returning to play a little bit of The Who as The crimson Demon points and sneers. It’s a well known fact that the Black Diamond is one of the most sacred jewels in all of metal and they want to keep it that way but they only want to hear from the leaders not the followers so don’t worry about who’s around you just keep your eyes on Mr. Stanley,  the Singer on the rising drums and the cat’s eyes.

The destructive merciless War Machine was unleashed soaring over legions of robotic armies with fire breathing menace and vengeance. If the crowd wasn’t Shocked yet, they were now with Thayer stretching the feeling into a searing solo from the stage to the rafters with Singer shooting a flare gun from his kit causing some ‘stage damage.’ Next Paul asks the number one fans to Lick It Up. Then checked on our condition before calling The Doctor.

Saving the best for last they encouraged the crowd to take a little time away from the negativity of the world with a white storm of Konfetti and Rock N Roll All Night. Then the tired, sweaty, partially-totally spent and dehydrated fans muddled together, some trying to grab the wet paper particles, some being ‘helped’ out awaiting their air-conditioned vehicles. Seeing both bands for the first time I can see by reputation alone why they’ve lasted so long but to see the respective shows they put on, especially with Motley being the ‘junior’ act it’s easy to see why they keep doing it and why the fans keep coming back for more every time. The bottom line is if you haven’t seen Motley Crue or Kiss yet you just F’n need to!

A Plea For Purging/As Hell Retreats Say Farewell To Dayton

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It’s sad saying goodbye to bands that play that special kind of soothing metal that inspires sweaty, stinky freaks to jump, dive or prance into a pit and cause gleeful self-immolation. It is both the sounds they make on stage from the furious roar into the microphone to the metal thrashing mad guitar playing that drives the kids nuts to the giant footstep thud of the bass and drums that sound like your right underneath a medieval war dance.

The Quit Your Band and Get a Real Job tour is the found farewell of Tennesse’s A Plea for Purging and As Hell Retreats. They played their last Ohio show Friday August 24 at The Attic with a Haemolacria tear in the eye,  a heavy metal heart and a Chelsea Grin from ear to ear. Though they loved touring and seeing the fans across the nation the rigors of road life had got to them and were ready to settle down and be normal/respectable folk again. But not before they gave the crowd a thoroughly severe kiss goodbye dose of noise corruption.

Kettering’s happy groove metal Ignite the Empires were the first of the surrounding areas finest young up-starts to help say goodbye. Screaming Soprano Nick Moshos and band gave a truly uniformed performance proudly sporting work shirts, name-tags, bow ties and aprons that pay the bills. Alongside some unison metal hopping Moshos let out a Pepperidge Farm collection of crying, banshee yells and pig destroying vocals. They indulged in some government cheese with their Cheap Wine and opinions on the state of the union. Mild mannered Moshos pulled an unexpected cartoonish gesture Superman style, minus the phone booth, breaking out/thrashing out in a presumably alter ego Sponge Bob outfit (possible second job at Nickelodeon). Proving that even animated yellow cleaning accessories that soak can be hard-core. Next up was a nice little loud twanger ’bout Them Trailer Park Boys.

Dayton’s own local living legends Gnashing of Teeth sporting a veteran band history rivaling both headliner’s combined have definitely put the time in earning their spiked fist in the face reputation for onstage sound mangling. Formed in 1993 originally called Enslaved (not the Norwegian progressive metal band) with a different sound. Taking a break in December 1995, they chose their known biblical bicuspid biting moniker and their piece of local history was born. Several members changes later their coming back stronger, fiercer, and louder than ever. Founding member guitarist/vocalist Duane White has kept the gritting/grinding sound alive releasing Walking The Appian Way in 2010 on Sancrosanct Records and is working on new material for future release.

Their harmonious artillery range of sound bludgeoning began with Death of Beauty. They played disk opener Separate with its Burton C. Bell yells and technical string prowess and old school Arch Enemy sound/Meshuggah delivery of Death By Design. Singer Chris McKinney, a Daniel Bryan fan, threw the stage into himself resembling a young Buzz Osborne screaming like he could and would swallow your soul showing off sparkling dental work. Playing their own unique conveyor belt metal with the mechanized fury of Fear Factory and brutality of Slayer conjuring up hell fire and brimstone through their instruments. Their harmonies and ‘softer’ parts are like riding an acid death tidal wave onto sands of sulfur from the eternal sea of madness while their spiked mallet to the noggin chugs n riffs and earthquake inducing delivery could bring the house down, literally.

Hamiltons female fronted The Rose Hill was next. Originally named the Epidemic in 2007 they’ve survived through several member changes releasing their first CD With All That I Am in 2010 and will release their second effort Powerless on Sancrosanct in September. Don’t be fooled by a female voice leading the worship. If Rebecca St. James/Natalie Grant is your pleasant cup of tea then the loud but sweet metal screeching croaks of Bethany akin to Morgan Lander, The Agonist’s Alissa White-Gluzz with a little Angela Gossow sprinkled in will hardly be the comfortable shut-eye lullaby you’ll wanna plug into before bedtime.

If vocals that could make birds fall out of the sky wasn’t enough The Rose Hill employs a keytar player. That’s a guitar shaped keyboard for anyone born after the 80’s, Google it. An impressive antiquity to have considering production ceased in the mid 2000‘s. They’re on their second edition and if this one breaks maybe they can borrow Lady Gaga’s. It definitely added a unique ambiance and effect to the metal ripping around it.  They broke out all new goodies for the crowd playing five songs from the upcoming CD. A Sinners Plea and Reaching can be previewed on their Facebook page and you can look forward to hearing Oh Wayward Girl, Forsaken and New Life when you get the CD. Bethany spent the whole set throwing all of her petite frame into every heavyweight word and in a few years could be a contender for Revolvers Hottest Chicks in Metal.

The first half of the nights Facedown alumni bidding a loud final farewell As Hell Retreats played like their namesake throwing out a menagerie of twin guitar biblical progressive death wraith math metal that would send the most evil dark hearted of the devil’s dark dominions howling away in surrender . They hit hard with a nine course set with all the hard thumping metal fixin’s and you didn’t even need a bent salad fork.  They played with machine gun fire fret fingering, blasting out Young Heretic, Inferior (can be heard on Facebook), Shun, Misanthropist, A Beggar, Transgress, Raze and Matriarch. The unique technical, slow chug of some tunes made for unique free-styling pit activity breaking out and an unconfirmed report of an Irish jig was spotted. The building block metal sadly had to end at some point but not before they raised hands to the crowd and God Almighty with a blaze of glory thank you for a journey and career well spent.

A Plea for Purging answered a plea for more with a gnarled good mess of fun. Zakk Wylde’s doppelganger guitarist Blake Martin spun some true metal hair shredding for an hour presumably when he’s not stunt doubling for Halloween’s Tyler Bates. The no weight limit crowd surfing began on a sea of human bones. With fists and fury the fans threw their passion at the band and a fistful of metal was returned. Singer Andy Atkins walked the stage screaming with a red-faced pallete taking the space as his own for the evening belting out 7 years of old and new tunes that could easily be used for any respectable underground fight club.  The crowd used what they had left creating an all out adrenaline bomb set to go off at Atkins calculated repeated command. The forces of human nature re-opened the pit with toxic human windmills and an old school circular tornado style pattern. They slowly slowed it down to 110 MPH so the kids could regroup. Near the end Atkins said that it was time to give up the ‘rockstar’ life and become mere mortals again getting real job s and spend cherished time with friends and family. Through all the hardships and annoyances of the road the fans made every negative worth it, thanks for listening. He also advised for any of the musically motivated to form a band, play one show and quit.

Atkins roared out a band ending bucket list of favorite tunes including ‘The Life’ the video of which was filmed during their last stop at The Attic. Shiver that has a very moving religious parody video on Youtube, Malevolence giving a how to guide for rock stardom and riches beyond imagination. Along with nine other loud face pounders hitting you like a fist wrapped in granite headache. Two bands, two breakups, one tour and a final tear down the wall curtain call.

Note: originally published at citizenusa.net

 

Static X Brings Noise Revolution to McGuffy’s House of Rock

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Editor’s Note:  This review was submitted by local freelance writer Mike Ritchie. 

My Name in Vain

Friday August 10th Mcguffy’s House of Rock continued their long running and respected tradition of bringing the best hardest and heaviest bands to Dayton. 2012’s Noise Revolution Tour headlined by Static X and featuring head-liners in the making Davey Suicide and 9 Electric proved that the Hollywood music scene is still cranking out the future headline making notorious metal legends of tomorrow. Also one of Dayton’s finest up and comers My Name In Vain got to show their chops warming up the crowd for the nights inevitable noise and mayhem.

MNIV emerged from the remnants of other dissolved bands bringing together four individuals that refuse to be pigeonholed playing a diverse infusion of influence and style.  They emerged on stage with a nice disco/techno intro with all lights flashing giving an almost Pink Floyd effect to the stage as if saying ‘yep, this is what your all in for tonight’. Singer Josh ‘Slinky’ Miller has some good metal genetics going, resembling/sounding like a cross pollination of Serj Tankian and Sully Erna. They opened with the epic titled By the Gods followed by the first of two songs that mysteriously bare no name. Poor People the first song they composed and penned as a band calls out peoples desire/obsession with the material/trivial world not appreciating what they have, delivered a slow melodic arena sing along chorus ‘Take me to the river bathhouse, me and my shame and hold me under water watch me float on down the stream’ was a performance highlight. Their commentary stance on social media followed with My 2 Cents carrying a ‘destined for controversy’ chorus (you have to see them live to hear it) which they’ll play at weddings and Bar Mitzvahs and ended with The Breakout.

California’s electronic, industrial grooved 9 Electric (9E) delivered the digital mayhem and dance synergy bringing the energy and notoriety of The Hallowed Sunset Strip with an  excruciating non-stop adrenaline seeping set illuminated by an acid-trip blanket of strobes opening with the frantic fist breaker Crank It Up. They performed with the frenzied endorphin rush of a ticking Time Bomb and were the first to use the white background screen showing schizophrenic/story-line imagery and sing-along lyrics reminding fans of Disturbed’s walls of Mayhemfest. Singer Thunderwood resembling Chris Jericho/Stephen Dorf at a distance brought along all the attitude, bravado and rock-star behavior of The Strip owning the stage, mounting the speakers and hanging off the rafters just being himself making him  ‘Your mothers nightmare, the devils dream’ a good reason why you Hate Me. His vocals are surprisingly/refreshingly clean and clear despite his gruff shovel blacktop in your mouth delivery. Fitting since after they say an earthly farewell until a heavenly reunion to a shattered romance with the Cure/Type O Negative laced Goodbye they unceremoniously punched us square in the mouth with a Bullet Tooth. Then make all the ladies feel Filthy inside and all the guys dirty for liking it. With help from Static X’s Ashes on guitar they make sure we could all still Feel This. They finished and Destroy As They Go taking the crowd and making it their own. 9E’s show is a red-eyed fire breathing steel fanged night club/rave come to life.

Davey Suicide

Next up Hollywood’s answer to what would emerge if Rob Zombie, Dimmu Borgir and Cradle of Filth were thrown into a genetic molecule mixer and a nutty professor spliced and mutated the remnants into a concoction of Murderous Dolls and Zombie Mime’s. Taking the bleak depression and anger from NIN, the Hollywood/LA gutter trash lyrical style of GNR and graveyard fashion tips from Rob Zombie and The Cenobites, over half-dead mortuary escapees Davey Suicide looking like they’ve had a good Shout at the Devil were sung on stage by those adorably cute and creepy jump rope playing Elm Street girls as the rusty hinged gates opened and the band invited us into their own private demented playground. Singer Suicides dread locks look styled to kill or at least slice and maim major arteries on contact. Watching Suicide perform gives a memorial glimpse into his own Theater of Pain and future glimpse of what Marilyn Manson’s hell-spawn offspring might look like. Or if you’ve had enough to drink ‘could’ be mistaken as the Predator. Paying homage to the best of 80’s era glam, sleaze and degeneration they launched into a twisted tirade accompanied by creepier more insidious screen imagery reminiscent of Operation Mindcrime.

They got Dayton’s attention with the ‘monstrous’ Unholywood Killafornia. Then, definitely a bad idea if your judging on appearance but they went to Grab A Gun & Hide Your Morals anyway. Believe it or not they’re really nice blokes after you meet them.They throw out their impression/advise on the Kids of America. I’ll let you ponder the wisdom they have to share. A special lady gets a back alley kiss and bitch slap being the Hustler Queen. Next up as Mr.Suicide explains is the sick Sick Suicide of trying to be original, living, breathing, being your art, working hard and earning your success. After One More Night/God Head was cranked out Suicide had one more rant in him ‘politely’ denouncing reality show fame ‘idols’ and those who do relatively nothing to become famous. Satisfied his point was proven they finished with the bloody fist in glass crowd thumper calling card of the anti-hero/do it your own way and screw the establishment nay-sayers war cry Generation F-Star. His childhood idols/influences can easily be seen in the G.F.S Youtube clip.   Davey Suicide might have had a broken upbringing but he’s channeled all the negative B.S. and past baggage into a beautifully beastly warped vision of blunt honesty and realism.

Next up Hollywood’s guitar shredding, chatter box screeching Mad Scientist. Emerging from the darkness Wayne Static and Co. sporting his infamous Bride of Frankenstein hairdo with white striped goatee greeted the screaming banshees ripping into the first tune making the crowd feel like  they’d been electrocuted by barbed wire. Sludging out selections from six records Losing Your Mind, old-school thrills Bled For Days, I’m With Stupid, mid career tunes Just in Case and Skinnyman were met with rabid and by some, drunken approval. The icy blue chilling rays of Cold slowed it down a little and new-school killer Stingwray rounded out with crowd fav’s Push It with a tasty piece of Cannibal. A selection from his Pig Hammer solo release Assassins of Youth was also served. If Matt Hardy had been a rock-star instead of taking bumps and falling off huge ladders for a living he’d of been Wayne Static. Plus having a few lovely scantily clad ladies in leather, lace and twirling glow in the dark rope is a nice touch to any metal show.    

-Mike Ritchie