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The 17th Annual HoliDayton features Dayton’s Best Original Rock!

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For local rock fans, one of the holiday season’s most beloved traditions is the 17th annual HoliDayton showcase. This year’s event is happening Saturday December 28th, 2019 at Blind Bob’s Bar. As with years prior, there will be two stages of performances alternating throughout the evening from 8pm to 2am! Come early, stay late and celebrate another year of great Dayton music.

HoliDayton is organized by Mark McMillon, the guitarist for Hawthorne Heights and The Story Changes. Despite his very busy touring scheduling, putting together this Dayton original music mini-festival is one thing he always prioritizes. It’s an awesome way to celebrate being back home for the holidays, see friends and check out old and new bands alike!

The 2019 lineup features lots of rock, punk and straight up fun from The Nightbeast, The Story Changes, Abertooth Lincoln, Legbone, YARDBOSS, New World Natives, Seth Canan & The Carriers, Better Anyway and Business Casuals.

 

How to Go?

The Story Changes will be among the original bands performing at HoliDayton.

When: Saturday December 28th, 2019 starting at 8pm.

Where: Blind Bob’s Bar in the Oregon District

Cost: $10 at the door

Who: 21 and up

Celebration of liFe at Blind Bob’s on Saturday

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One of the things I admire most about the Dayton music community, is its ability to bring everyone together and to lift each other up. This Saturday April 13th is no exception with the Celebration of liFe concert at Blind Bob’s Bar.

Organizers explain: “One year ago, our community lost a beacon of light. In memory of our dear friend Fe Meier, please join us for Celebration of liFe. To honor her smile, kindness and memory, all proceeds will be donated to NAMI Montgomery County Ohio. NAMI is dedicated to providing peer support, education and advocacy to individuals and families affected with mental illness.”

The night’s lineup includes local rock bands Abertooth Lincoln, Kelly Renea Hanus, Weathervein, VICE ON VICTORYandSmall Words. The show is $5 at the door, although additional donations are gladly accepted! This is a 21+ event. Doors 9pm. Music till 2am.

Want to donate but can’t attend? Please visit www.nami-mc.org. Want to help but can’t donate? Call a friend or loved one and tell them five amazing things about themselves. Give someone a hug. Make sure that YOU are taking care of your mental health and reaching out to others when you need to. You are never a burden. You are never too much. YOU ARE LOVED.

REVIEW: The Big Four of Dayton Release Quadruple CD’s at Courtyard Lounge

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(photo by Mike Ritchie)

(photo by Mike Ritchie)

It wasn’t a stadium or in Sofia, Bulgaria but any of the five bands that played Saturday July 5th could be considered in Dayton’s big thrash four debate. The crowd turned out in droves, jamming the cramped but cozy ‘by metal standards’ space of the Courtyard Lounge into a shroud of die hard, shoulder to shoulder black t-shirts sweating, screaming, yelling along, to Dayton’s ‘metal uniformed’ finest , spilling out into the outside lobby. It was a four band quadruple CD release party and birthday bash for a local guitar hero. Foul Stench’s Blood Orgy, Forces of Nature’s Dark Ages, Eooonmai’s The Witches Hammer and Engine of Chaos’  Uncover the Bones each had new tunes to indulge in while The Reefer Hut came to help kick ass and Horlet played a show off their The Keys of Life and Death release.

Reefer Hut (photo by Mike Ritchie)

Reefer Hut (photo by Mike Ritchie)

The first collaborative-morphing/heavy mixing of Death Rot Productions and Zeently Productions brought a who’s who of the local scene, along with dedicated fans from afar and some from parts unknown in attendance including Shadows in the Hourglass, Killed By Art, Jebenezzer Law, local artist Sam Holliday who designed the cover art for Forces of Nature’s new CD, their reissues along with their new banner and Engine of Chaos’s new release. SITH’s Zack Ryan was also responsible for the blasphemous cover art on The Witches Hammer.  Though his music wasn’t performed live, a few choice tracks between sets from TWH were hell spawned out in God defying black metal manor, giving all a loud satanic sample of the battle of inquisition between God, Satan and the witches. Enoonmai’s captured a dark, melodious feast of death, murder and sound torture fit for a midnight graveyard cult ceremony as the symphony of horror movie effects and the walking dead play.

The musical reefer was burning heavy as the thrashing began with Tomorrow is Calling. The personal/professional sacrifices one must make to the dedication and passion of music is a true tale of abuse as the military tank pummeling guitars shovel it out with Pantera sludge and blast beat breakdowns. Inner Pride’s an oldie, but goodie. No Turning Back was written when Adam Baumann was a bit skinnier with plenty of guitar hammer chugging and drum buildup. The Sepultura flavor of Moving Forward was about recovering from the bad times and getting on with it.

Foul Stench (photo by Mike Ritchie)

Foul Stench (photo by Mike Ritchie)

Dayton’s favorite Horlet’s of Nile meets King Diamond with Iron Maiden’s 666 foot flight above brought the keyboard ambiance along with tunes from their latest offering. From the Clouds started it off and Annabelle’s Curse was played in birthday dedication to one of the pillars of Dayton’s metal foundation Marc Godsey. Siren’s rang out, it’s still f’n hot but fall will soon bring the Signs of Winter and The Awakening followed by crowd pleaser Wings of Ariel, dedicated to a hardcore fan that made the trek from Pennsylvania to attend.

Foul Stench ripped open a set full of blasphemous odes to Dayton’s darker dwellers and places unspoken of, playing a diverse selection from their career catalogue featuring Orgy opener Razor Fist, a two minute slice and dice gusher splattering of serial killer friendly crimson to make Dexter smile with ‘more’ than a single drop of blood. We got a Fake rip and tear off The Bone, punk speed and style.  The saw bone guitars of The Gash made way for the deep demon throated Blood Orgy as it slowly chugged, writhing along with a dirty, puritanical misanthropic motion and lust. They rung the five minute doorbell To Hell, recorded behind closed doors. We got Fukd by Eternal Rot and over ten tastes of blackened growled sonic thrash and death flavored assault. Along with the lung caterwauling and pig squealing growl of the King was the mobile and thrashing out Eric Nye with the crowd demanding an encore.

Forces of Nature are legendary in D-town, having played pretty much everywhere and continue to kick ass supporting the scene. They opened sending some love to the Dimebag-Nation with some Domination.  Midnight came early with the evil witching sounds of Tate Moore’s unearthly screeching dark hole. A midsummer’s night tune came for those souls graveyard enchanted or so inclined. The Apocalypse came with twisting down the spine guitar riffs and just a generally beautiful uncomfortable feeling.  The digging, devastating pummel of Magnus Lee played the picture of an evil hooded spell-caster’s hands hovering over the dark cauldron of mirk and mire. Rotten Tooth’s brutal, thudding pace proved a dentist’s drill is more bad-ass than a doctor’s scalpel. Mary Hates Herself but black metal clad Enoonmai hated her more with a brutal shredding.

A new banner debuted on Forest of Corpses. A.S.O.T’s a musical picture of the carnage and violence the old boob tube shows, while most of America watches the Kardashians and ‘reality’ shows. With high, hypnotizing flames illuminating some yummy looking icing Birthday Boy Marc was offered his ceremonial/sacrificial cake of sweet sin.

Engines of Chaos (photo by Mike Ritchie)

Engines of Chaos (photo by Mike Ritchie)

Engine Of Chaos came out with something a bit more or completely different. A set full of Black Sabbathy, rocky metal tunes with funky grooves from their new Uncover the Bones release along with some older stuff. Them ‘Bones’ got started with the CD title track as Scott Toops outshined on the opening of Change. The engine revs and roars as chaos ensued with Toops bringing out the holy rasping Halford. The slower, melodic Unknown slithered like a sweet serpentine alongside Scott’s snake leathered pipes.  The guitar notes rippled the intrepid waters of the blues submerged with the Frogs in the Tug River as he blended the whisky-moonshine strong embrace of Dio, Udo and Dickinson. Nick Wheelers bass brought out the 7 Demons and told Lies of all-holy/hypocritical dictators and leaders.  Toops and co finished with the Chris Cornel/Wylde wicked cry of the Deceiver.

It was a night of horns up plusses and gains for the local metal community showing the collective collaboration and unity of the scene. When everyone works together, we make s**t happen! The Dayton metal scene added another great stage to its list of venues that appreciate good, heavy, loud music along with the ews of Nielson Hixon reopening one of Dayton’s longtime signature staples, the newly renamed Oddbody’s.

Crooks on Tape Show on January 30th

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Crooks on Tape January 30th show

Misra Records artist Crooks on Tape will be in Dayton on January 30th with Swim Diver, Bearer of Bad News and Swarm at Rock Star Pro Arena.

CROOKS ON TAPE is John Schmersal (Enon, Brainiac), Rick Lee (Enon, Skeleton Key, Butter 08) and Joey Galvan (Mannheim Steamroller, Anthrax). The band was created out of a simple idea of discovery and musical creation – in their own words: “convene, improvise, and record every moment.”  You can listen to their record Fingerprint at The A.V. Club website.  Crooks on Tape have been described by this columnist as an exciting and rocking John Cage and Philip Glass sound experiment!  Do not miss this opportunity to see them in the area.

Swim Diver is an exciting new band featuring members of Brainiac, Captain of Industry, Oh Condor, Me & Mountains, Human Reunion, The Dirty Walk, and Vinyl Dies.  Swim Diver’s music is based on appreciation of the grand and glorious Dayton music tradition.  If you are a fan of rock and roll that appreciates your intelligence, than this band is for you.

Bearer of Bad News— one of Dayton’s finest hard rock outfits is also on the bill for that evening with music that melts the rusted fields of the Miami Valley into a sonic attack that is cathartic and empowering at the same time.  Swarm plumbs the noise-metal-thrash adrenaline rush of 80s and 90s punk into an organic cacophony of sound with social, cultural and political criticism.

This show promises to be an exciting evening of musical exploration.  This is an opportunity to see some terrific bands!   Go here to check on PRESALE TICKETS!

Cross posted at Your Tuesday Afternoon Alternative.

CD Review: Horlet Bring the Keys of Life and Death

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Horlet

Horlet

Dayton’s Horlet release their debut album, The Keys of Life and Death, a pulverizing blast of death metal slam-dancing your face into the cold concrete. With 17 tracks including four interludes that violate the ear yet make the brain want to hear more, Horlet takes us to ancient Egypt to hear the voices of the gods. We’re also warned of manmade Armageddon, the ancient curses of unknown dark entities and offered knowledge from the Tablets of Thoth.

87c78e47a6bfeaa8541279e68f2e3f87It’s solid, fast Nile-inspired death metal peppered and sprayed with Iron Maiden guitar soloing, a Norse drinking horn full of Amon Amarth inspiration and lyrics from the mysterious mouth of the Egyptian river. Jason Lyons’ vocals spend most of the album in the high pitch demon screech octave with the occasional morbid growling. He spits the acrid carcass over everything giving Egypt, the desert and the ancient Gods a new coat of fresh decay.

Opener “Wings of Aerial” starts blast beating into a guitar chug Viking metal roar. First instrumental interlude “The Fallen” is an enticing mixture of Middle Eastern keys and notes strummed with sitar, samisen and a string quartet. Then death “From the Clouds” comes with its icy frozen chill of Maiden-esque guitar notes.

The Godsmack sounding acoustic “Whisper of Solitude” melds into the building sheet metal buzz-saw guitar riffs of “So Far Away” with Lyons chewing nails on a mourning poem about a lost love/hate manipulative relationship and the emotional poisoning that’s still alluring. “Annabelle’s Curse” is the crunchy, munchy revenge circle pit tune.

“The Visit” breathes the breath of the gods into the speaker with a techno itch and uncertain feeling bleeding into “Taken” as the robotic godlike cyborg invasion cripples mankind.

“He Who Walks the Sands” allures with its seductive sand dance for the Pharaoh’s enjoyment. Then “Gypsy” pulls a Mercyful Fate riff straight out of hell’s ass.

“Those Who Follow the Kings” majesty march across treacherous dunes to do his bidding and please the will of Shu and Ra.

Horlet is a strong macabre mixture of veteran local talent with Lyons and guitarist Seth Mullins formerly of A Rogue’s Sorrow and Hollow Offering, bassist Allen McGowan of The Keep, Glitch and Cell 13. Guitarist Keith Byerman of Freq and the Jam Bandits and drummer Eric Barnes formerly pounded for The End, Leveled, Trioxin, Dead Broke, Darkness Undying and currently plays for King Stench, The Transylvanian HellHounds and Connection Ground. www.horlet.com.

REVIEW: Battle For Rock On The Range 2013 Finale at Alrosa Villa

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Saturday May 11th, the regional music community came out in full force supporting the Columbus rock scene and the 7 bands that made it to the battle of the bands finale for the coveted opening spot on the hallowed ground of Crew Stadium for Rock on the Range 2013. The winning band would perform on the same stage as Thousand Foot Krutch and Beware of Darkness among others. They’d also be performing on the same collective bill as In This Moment, Ghost, Lamb of God, Skillet, Alice in Chains and Soundgarden…no pressure.

The showcase was sponsored by Columbus’ Fox 28 News, 99.7 The Blitz, Zombie Tapdance Productions, Columbus Recording Studios, Music To Go, Local Rock Showcase, Stover Photography, Chris A Photography and X13 Sound Services.

Starting on March 22 with Auntiem, Devil By Design, Ironhead and The Last Rise, 37 bands played their best to earn the holy grail of local gigs. Other participants included 3rd Degree Burden, Autumn Burning, Blanch Devereaux, Despiragon, Exist Beyond Ruin, Overtheory, Trabue, Murnane Tribe, Error 504, Downsick, Liecus, Dressed in Electric, 8lb Pressure, A Nameless Tragedy, Hollywood Red, Black Dragon, Citizens Brigade, Viper, Liquid Ghandi, Antaean, Mason Made of Scars, Grit n Steel, Detrimental, Echoes of Empathy, Enemy By Mourning, Infidel, Mari Jayn, Second Sight, Imperium, Roxy Mae, Strikken, Country Club Commandos and Cross Solder.

The seven finalists would all play in one night, the winner to be determined by 2 anonymous judges and crowd voting. Cross Solder, Devil By Design, OverTheory, Error 504, 8lb Pressure, Hollywood Red and Infidel all earned their spot in the night’s grand finale to go play ‘Where Rock Lives’ the following weekend. Each band put on a spectacular performance giving their very best to the crowd, playing like they were already at ROTR. Whether you were a die-hard local, casual club goer or from elsewhere stopping by, you could tell by the crowd’s energy and the excitement, electricity, adrenaline and vibe pumping through the place that tonight would be epic. Tonight Columbus was united, jamming the house in support of the local scene.  Regardless of whoever you followed or liked, everyone wanted and got a great musical showcase.

Cross Soldier (Photo by Ike Ritchie)

Devil by Design (Photo by Mike Ritchie)

The Alrosa Villa staff was very impressed with the promotion by bands, sponsors and the local community, making the finale a victory in and of itself. The competition started 4 years ago with club founder Rick Cautela sending one local winner to the big show. Assistant Director of Entertainment Tara Cautela has taken it to new heights in recent years.

The first of the finalists Lancaster’s Cross Solder opened the show with What I’ve Become impressing with some down and dirty southern raunch rock and blues. Chadd Lunn’s raspy vocals paid tribute to Bobby Ellsworth and borrowed the ‘Blitz’s’ intense wide eyed glare. The boys played like they were hungry for their next meal whether it was up from the gutter or down from the penthouse. If Dave Mustaine was in a hard rock blues band and looked like Tom Cruise, we’d have Mr. Lunn. Soldering their own sound, they Light Up the Sky playing All I Need and the brand new dark sing along ballad If I Die. Another new one, Shameless, changed between slow melody and fast hard chug with butterfly knife quickness. They finish, playing the pied pipers with a private symphony for Mr. Mustaine. Look for their first record coming soon.

Playing the night’s sophomore set from the depths of hell with a sound straight from the narrow Harley riding rockslide looping roads under the LA sun were Devil by Design.  Though some of them might be too young to remember the beer soaked, hairspray drenched metal heyday of the sunset scene, they play with a healthy appetite and appreciation for their musical forefathers. Think if LA Guns, Motley Crue and GNR had a chance to defend their stripped turf from the Nirvana, Alice in Chains, Soundgarden Seattle invasion.  The seeds of DBD would’ve been spewed out on the pavement, pushed to the curb and left to spawn. They open going hog-wild turning the keys on their EP title track Let the Devil Drive, and why not, there’s no need to sell their souls… yet, but having the devil at the wheel can give them rock n roll immortality. It’s better to Burn out than fade away as the song goes. They play their music like the hard drinking road gypsies they emulate with a little bit of hair, punk and Ramons thrown in to balance the octane with heavy sedation. Travis Halley has channeled the presence of Jim Morrison, Danzig and Layne Staley with a rosy swagger minus the suspenders. They break out the state plated ballads singing about the west coast wonderland bringing the 1980’s to 2013 without roses or thorns. Revolver video-single What if I Die cranks out the praises and hard luck perishes of the lifestyle accompanied by a little shelter from the Stones. You never know when it’ll be your time to go to paradise city. Can’t get the new album tune Outta My Head and for good reason. They finish blowing their set to Pieces taking the tour bus to home sweet home. Their 6 song EP Let the Devil Drive from BFX records is available on iTunes.

And now for the thinking man’s metal mind, Battle for Rock on the Range gives you Columbus’s Overtheory. The band’s philosophy is to keep it simple but sounding damn good doing it. They’ve already accomplished quite a bit in their 2 year history playing Newport Music Hall and Screamin Willies among others, performing live on 99.7 The Blitz, and earning a Fishtank Audio contract by winning first place at Captain Jacks’ battle of the bands. Singer Dorian Gray was definitely the night’s unsilent Bob singing with a distinctly disturbed tone belting out Fatal Flaw for the fans. Bassist James Guest spent the set hauling his self-catapulting massive frame around stage, his body anxiously awaiting his head to fly off and crowd surf. Resembling a bald Vinnie Jones, it’s no wonder he plays like a meat train madman. They break out the toys tossing out the killer red balloons and the glow stix for trippy illumination. They’ve developed a sound bending the Alter Bridge between Chevelle, Breaking Benjamin and their own combination of technically complex, strong heavy rock.

 

Error 504 (Photo by Mike Ritchie)

Error 504 (Photo by Mike Ritchie)

Error 504 is the last thing you want to see on your computer screen but definitely worth the drive to hear if you’re in the area. The band is an amped up mix of mashed up hard rock and metal that’s shared stages with Bobaflex and Mushroomhead among others. Led by Dayne Sauder, the crew played a set heavy in sound and loud on performance with fans and followers yelling loud and proud for the 504. Opening with Give it Away, new tune Devil’s Angel and growling riff chugger Lil Red, Alex Mayer, part Eddie part Dimebag, shreds his way through their future early classics flailing his blonde terror mop, shredded mesh and well worked guitar strings through the evening set.Kin of Infidels Larry Coak, lil Evan was brought out on stage for the first of a few early rockstar of the future training sessions. They were all playing for a spot at Rock on the Range but also for their love, passion and dedication for the art, crowd and scene. Even if it meant piling $5000 worth of gear into a $500 dollar vehicle and driving the miles for the price of a tank back home. The crowd showed gratitude opening a nightmarish pit as they unleashed the evening’s ending tune The Reckoning. Check out new CD Vol 1 The Awakening on Amazon.

How many pressure points does the human body have? How many pounds of pressure does it take to break bones, crack joints and skulls or choke someone out? 8lb of Pressure was Columbus’ best sounding answer to Korn meets Metallica and Godsmack. Singer Brandon Sin spent 8 years with Tainted 13, bringing a Mike Muir/Evan Seinfeld resemblance and his angry, snarling attitude with him. No amount of pressure can Break them down. Cranking out loud solid metal peppered with some COC playing Sick of It, special guest star Mark from Sever made an appearance on War and Lil Evan came back up to adrenalize the crowd with a frenzied air guitar solo helping out the heavy Machine Head chug on Lies.

Hollywood Red (Photo by MIke Ritchie)

Hollywood Red (Photo by Mike Ritchie)

Now for the evening’s second helping of Hollywood and Vine, hair metal with a touch of Aerosmith and some harder spiked rock and roll punch, Hollywood Red. All the thrills are there as guitarist Jonathan Suh rips the notes out of his guitar with Van Halen speed playing Back for More and Burned Out sung with a soft smooth Mark Slaughter delivery by the young Harry Connick Jr looking Dominic Frissora. Don’t call him a pretty boy… or Floyd. Their sound incorporates the back canyon road tales of Wasp, LA Guns and GNR. They get a little weezy on Save Me, guys… say it ain’t so! They may be too young to remember most of the 80’s, but they’ve taken the classic sound bringing back memories for all the ‘older’ kids to remember the good times. They play their own semi-autobiographical Misfit Anthem aided by the visual lyrical dance interpretation of some lovely young lust. The young guns have been around since late 2011 and have a self-titled EP out.

Rounding out the evening with a crowd full of vocal supporters, tonight’s blasphemous heathens Infidel hit the stage. Music is their life, metal is their passion, mosh pits are their calling and they just kinda sorta happen when they play. Are you ready for some metal?! Larry Coake yells out calling for the opposite of murder with a shining gleam in his eye. With the inflamed skull Obituary’esque logo banner backing their deadly sound, they all get on their soapbox performing their best. There was no need to Beg for crowd participation.  Though all bands were asked not to encourage pits being an all-ages show, sometimes the power of music just compels you. Coake’s spoken word screechy screaming delivery left his vocals Hangin by a Thread but didn’t stop him from touring the club spreading the word asking all patrons to follow him to Rock on the Range.

The excitement and tension built as the bands waited for the announcement of who would be playing Crew Stadium. The vocal majority was split between Infidel and Error 504. As the votes were tallied, the staff thanked all bands for playing a great show and welcomed them all to come back anytime. Regardless of who shared the Jagermeister stage next Sunday morning, the Columbus music scene was the winner tonight. Each band played like they belonged on stage holding nothing back and were destined for greatness. Then the announcement was made. The winner of the Battle for Rock on the Range was….. Error 504!

Congrats to Error 504 who played a great set at Rock on the Range, to the final 7 for making such a memorable night happen and all the bands that played and rocked The Villa over the past several months and to all the fans that make the scene happen.

Participants in Battle for Rock on the Range (Photo by Mike Ritchie)

Participants in Battle for Rock on the Range
(Photo by Mike Ritchie)

 

REVIEW: Hanzel und Gretyl Born to be Heiled in Columbus.

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On Friday May 10th, a dark-fairytale tag team duo of Uber German industrial techno noise came to the Columbus stage. Trekking through their native land on the Born to be Heiled US tour, the fire red haired beauty, German smack-talking booted vixen Vas Kallas and the helmeted, skull faced, beer swilling guitarist Kaizer Von Loopy brought the Euro party to the Alrosa Villa. Phantom 13, Eyes Stained Black and The Last Rise came to join the Uber Death Party.

Phantom 13 (photo by Mike Ritchie)

Phantom 13 (photo by Mike Ritchie)

What do you get when you combine misfit hangouts from a forgotten decrepit graveyard and the final sender of souls to the great out-west beyond? Columbus’s answer to a Halloween party on punch drunk absinthe fueled wheels, Phantom 13. With mic stands stacked with skullduggery and everyone dressed to scare and/or kill, the horror punk shock rock group of grisly goons from unmarked tombs were ready to consume all living souls willing to sacrifice for the cause. A tall top hatted shape in black emerged from the darkness as the funeral directing old school undertaker Sutter Cain opened his mouth of madness, breathing still life into the evening’s first song. Bassist Chuck Black’s shirt was ribbed for your pleasure.  Jerry Sinn, Rob Evil, keyboardist William Grimm sporting cool night vision glasses and Branden B. Evil all looked like creatures of nightly habits. Cain talked shop on Dust Filled Veins resembling a cloaked combination of Marilyn Manson and the unholy shock rock godfather himself, sweet Alice. It’s quite certain Cain’s Danzig infused vocals have sent a few post mortal souls to earn their black wings. As living, breathing steady paced walkers, we humans can’t get enough of the living dead, whether at movie conventions or AMC, and Phantom 13 are happy to oblige our hunger for a meaty musical meal of un-human noise and movement. The wolves howl an attack signal in the night as you walk swiftly across the foggy moor after midnight trying not to look behind you. We get a slow, dark, black lipstick seduction kiss from every man’s long haired beautiful fantasy queen and pleasant scary dream, the dominatrix of the nocturnal guilty suffering conscience, the Demon Girl. They pour hellfire’s octane on the devil’s eyes and speed off like a Beast. We get a house tour from beyond the grave by the little girl that can hear the Voices of the Dead. Out for Blood’s off their new CD, and it’s a haunting nursery rhyme about nasty dead things you shouldn’t play with. Sutter shared a not so funny thing that happened on the way there, a near death story as their tire almost came off the tour bus.  So they were VERY happy to be there tonight. The Dark Riders race and gallop on steads with red eyes fuming on power chug as Lilith commands the charge waging her eternal war and curse on the earth. They brought Transylvania to Columbus tonight for a high stakes showcase.

Eyes Stained Black (photo by Mike Ritchie)

Eyes Stained Black (photo by Mike Ritchie)

Next is the thrashy gravel throated entrenched ambiant atmospheric melancholy experience for the ears that is Eyes Stained Black. It’s Skinny Puppy meets dark-wave playing over grainy electronica graveyard footage. They play Dead, conjuring up atmospheric surroundings fitting for a victim’s quiet walk through the woods at night. Anima thrashes out with angry gritty guitars, an operatic siren singing out black tears of sorrow and pain with an eerie tranquility. Amidst all the swirling mood doom, there was Something Beautiful to be destroyed with an intertwining of weaving keyboards, hard hitting guitar and robotic trans-electronica. Singer Josh M is the deranged puppet master on the screen controlling this musical scrap iron assembly. They’re a surrealistic emotive whirlwind of creative dark depressive dirge sounds, imagery and musical mood swings from the parts of the mind that most people keep locked away. From the Inside Out is the closer

The Last Rise brings some down and dirty garage/basement metal up from where all bands begin and future rock stars emerge. It’s pretty, pretty f——g metal! Lonely Cradle starts out with a slow high pitched creepy childlike crawl along into a dingy chug dance. On The Last Goodbye, Chris Wolfe’s voice ranges from tearful controlled agony to fierce screaming. They played tribute to the knotted masked men with Spit it Out.

Hanzel und Gretyl (photo by Mike Ritchie)

Hanzel und Gretyl (photo by Mike Ritchie)

Our favorite American Neue Deutche Harte duo, Hanzel und Gretyl, was formed by members Kaizer Von Loopy and Vas Kallas in February 1993.  Deutschland’s answer to the fabled nursery rhyme of what would Hansel and Gretel be like if they were from Rammstein country.  Dapper in a marching helmet, skull mask and Ohio State shirt that would be beer drenched letztendlich, Hanzel shredded through a set of HUG classics from acht records to be heiled with Gretyl growling/marching along in strict military order, throbbing bass for all to see. The smoking skull faced demons straddled their hogs as Blitzkriegerz und Hellriderz got ready to ride out the gates of hell. HUG are Number One in Deutschland for a reason, and anyone who says different gets Das Boot up the arsch. One lucky fan dressed for the occasion got some bonding stage time but had to earn it the old fashion way. A full boot-leg of tonight’s sponsor Pabst Blue Ribbon was the price and prize of an up close HUG experience. Downing the brew with the added sweaty, socked leathery aftertaste, what does any Hanzel fan do after chugging it down? Why, asks for more of course. Der Furor seems to approve or maybe he just gets all choked up because the songs are too damn loud and fluchtig to handle. Kaizer shares the beer belt of love with the assembly. Breaking out the strong stuff at 100 proof plus, the Deathschlager is poured free for every member of the crowd and every member of the Third Reich from the Sun. It was time to get More German than German and have a dance party. Whatever side of the line you’re on, tonight we’re all Uber Allas.

From the planets, to Europe, to the SS Deathstar we are Heiled from the darkside. HUG can rock any house they march into and bring the Uber Death Party with them, and for tonight they’ve moved to/invaded Columbus.

University of Dayton Presents Heavy Metal for the Sophisticated Educated Ear

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Friday November 9, the hallowed halls of finer Dayton based education held a symposium on a subject of great interest, historical value, global impact and social significance. Four renowned highly educated intellectual professionals came to discuss a subject many of the student body loved and many around the word live as a lifestyle. Dr. Esther Clinton and Dr. Jeremy Wallach of Bowling Green State University, Dr. Deena Weinstein of Depaul University and Dr. Mark LeVine of California-Irvine all brought their esteemed, world traveled knowledge to enlighten us on the finer spoken points and high society standards of the world’s greatest musical contribution… Heavy Metal.  Sponsored by The UD Arts Series, Office of the Dean of the College of Arts and Sciences, Departments of Communications, English, History, Music, Sociology, Anthropology and Social Work.  Also the Roesch Library, Ryan C. Harris Learning Teaching Center, Alumni Chair of Humanities and Social Justice LLC and Service Club.
Each gave a different and unique presentation to a packed room in the Sears Recital Hall at the Jesse Phillips Humanities Center on the effects, sounds, culture, emotional impact, history and understanding of the genre as a whole and fascinating insight into its distinctive subgenres.
Dr. Clinton a professor of popular culture and teacher/writer of Folklore, Popular/Material Culture began her lecture, “Who has Access?- Comparing  the Moral Panic About Gothic Literature in the Late 18th Century and Heavy Metal Music in the 1980’s.” She made several comparisons to the themes of gothic literature and Metal such as the often used dark and stormy night verbiage used in novels which was present in metals earliest form, the first Black Sabbath record with its eerie downpour and looming church bell. The music sounds dark, using minor keys, reverb and the dreaded tritone. The theme of human/personal/supernatural evil widely used by Sabbath, historically becoming one of the genre’s biggest lyrical go to subjects was often symbolized by the dark characters within the gothic works. Moral panics were brought on by both forms of expressionism. The PMRC gave us the 15 worst song list questioning their lyrical content on the young minds of the time. Gothic literature gave woman a great sense of empowerment as they could control or influence men using their powers of persuasion. They were given strong roles, standing up to men and allowed to enjoy the more physical side of life in these stories which helped the female literacy rate go up. In 1870 a law was passed which gave women access to these ‘fun’ books which were passed around and shared much like the underground tape trading scene of the early 80’s. So if you lived back in the day and were luckily enough to get a presumably well- read, well-worn ‘early’ copy of Frankenstein, Dracula or the era’s first novel The Castle of Otranto it would be similar to a friend giving you a re-re-re-re-copied underwater sounding cassette of Metallica’s No Life Till Leather demo. Also the advent of cassettes along with malls, Walkman’s, Boomboxes and Ghettoblasters made the ‘then’ music media portable and easier to share and play. It also opened a huge market for the younger crowd as before records were more for adults.
Dr. Wallach, is the Associate Professor in the Department of Popular Culture and author of Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001 and Metal Rules the Globe: Heavy Metal Music Around The World.  He brought along some very unique sounds to his presentation, giving us a listen to some extremely rare demo tapes and bands from the farthest reaches of the earth showing that the sound of metal can incorporate almost any kind of instrument and will still sound ‘metal’. His topic of “Diversification and the Duality of Domination in Global Heavy Metal” was an eye opening look into just how far heavy music has spread to several parts of the world that the average headbanger probably hadn’t heard of.  Not your every-day types of metal included Celtic and non-English and with the bagpipes and accordion’s blaring there’s even a Metal Polka. Other unique instruments used were an Erhu (a Chinese two stringed bowed instrument) used in solo performances and orchestras, known as a Chinese Violin or Fiddle in the Western World. A Gamelan, an Indonesian group of non-interchangeable instruments meant to be played and tuned together from the islands of Java and Bali incorporating drums, gongs, flutes and plucked strings. The instruments are all built together on a decorative rack and are played as its own separate entity and are an integral part of Indonesian culture. Other multi-string music makers include the 13 string koto, Japans national instrument and a shamisen, a fretless 3 string plucked instrument similar but designed simpler then a guitar or banjo. Both have recently been used by Taiwanese Black Metal group Chthonic (pronounced thonic). A group formed in 1995 incorporating ghost paint instead of corpse paint and are still going strong today regularly playing festivals, arenas and stadiums. That’s right, a stadium level black metal band. When’s football’s over, Chthonic will come. While each of these instruments by itself would seem worlds apart and almost alien to the world of loud extreme music, each bands incorporates the sound and different playing styles into the loud sound in a way that doesn’t get drown out by screaming guitars. The instruments use itself is a statement of each bands distinct culture, mythology and history.
Next up the very well-backed up metal spoken word of professor of sociology Dr. Weinstein (she’s posing with Dio in the event booklet). Her body of work covers books, chapters and articles in professional journals ranging from sociology of rock to postmodern theory. She also writes music reviews and features for a range of publications and has authored Heavy Metal: The Music and It’s Culture. “Metal’s Malleability and Its Cultural Globalization” Metal has a name, image, brand just as Starbucks, Harry Potter and McDonalds. Metal music literary speaking shape shifts and can be twisted, torn, bent and reshaped into various forms of product and art just as actual metal can. All shapes though break from their original form. Visually metal bands are seen as strong, often using visuals of power whether in their artwork, lyrics or presentation, as real metal is physically strong. A Manowar album cover can be seen as artistically strong, showcasing its members as built and musically, physically appealing, while black metal bands like Gorgoroth and Mayhem use shocking images in personal appearance and stage presentation.  Though there are underground death metal scenes all over the US, where it’s more accepted, there is also a huge scene in Columbia and Mexico. The music’s sound like actual metal can be bent incorporating different sounds, agenda’s, personal messages, lifestyle commentary from different parts of the world. Take Overthrust from Ghanzi in Botswana a death metal band whose appearance reflects an old school biker look. Different cultures have used music as the only voice they might have to vocalize injustice, prejudice, and discrimination.
Dr. Levine is a professor of Middle Eastern history, holding a doctorate in Middle Eastern History and Islamic studies and musician recording/touring with Mick Jagger, Dr. John Ozomatli, and Hassan Hakmoun. He’s also authored Heavy Metal Islam and presented “Behind the Sun: Metal and the Roots of Revolution in the Arab World.” He showed a funny clip of MTV Arbia and talked about nations that just started to open their doors to metal music. In some countries playing metal either recorded or live and wearing t-shirts and having long hair is an arrest-able offense. In extreme cases some societies are so sheltered that the penalty for being a metal head is death so the music in underground in the most literal sense. Many fans embrace heavy music here because of its rare and sometimes almost inaccessible availability. In 1997, there were Satanic scares in Israel the government thinking the music made metal heads torture cats. They also thought the music made kids mentally ill due to the perceived and uneducated viewing of headbanging and moshing. Of several Youtube metal clips shown was a musician discussing that he’d only recently been able to wear his shirts in public and that he once feared for his life and that playing metal could cost him his life. One of the most telling and powerful stories was in 2007 Iron Maiden were the first major metal band to come to Bangelor India, ever, playing for 30,000 fans. There are Youtube clips showing fans openly weeping for joy that a metal show this big had finally come to their country. One funny but telling story was from a fan who sold his father’s shoes for ticket money.
As a historical preview Anthropologist Sam Dunn’s 2008 Global Metal Documentary was shown the previous week. The film follows Dunn’s whirlwind journey through Asia, South America and the Middle East as he explores the underground underbelly of the world’s emerging extreme music scenes. Genres explored include Indonesian death metal, Chinese black metal and Iranian thrash metal. Highlights include an entire mall in Brazil (home of Sepultura) dedicated to metal music. Former Megadeth guitarists Marty Friedman talking about Japanese fans giving western bands toothbrushes, which has nothing to do with oral hygiene rather the fans just want the bands to have something from their country. He also talks about Visual kei, a movement characterized by make-up, wild hairstyles and flamboyant costumes, resembling a mix of glam and punk. Pioneered in the early 80’s by Japan X and recently to a point incorporated by Dir En Grey, a more familiar to the Western world Japanese band. The musical style is unique as it shifts between shredding metal blasters to tender somewhat cheesy ballads. Imagine a Visual kei band playing Raining Blood, Don’t Know What You Got Till Its gone, Master of Puppets and More Than Words in that order and you’ll have an idea. After being closed off from the Western World, Tang Dynasty became the first Chinese metal band. In 1993 Metallica played in Jakarta Indonesia and due to the kids going into frenzy (releasing pent up anger from the government oppression and dismal living standards) inside and outside of the stadium all rock and metal shows were banned for years. The Desert Rock Festival in Dubai is the only metal festival in the Middle East and the only place where fans can come and safely show their devotion. It’s an epic monumental event bringing people from Lebanon, Bahrain, Kuwait, Aman, Saudi Arabia, Duheas among others. Another example of how metal starved this region was, is that there’d never been metal cd’s allowed and there’d also never been a metal show in Iran until 2004 when SDS (Seven Deadly Sins) played in Tehran and even then the audience had to sit down with the band playing covers including Morbid Angel and Slayer couldn’t have vocals due to metal’s perceived harsh and aggressive lyrics.  Dunn’s other films include Metal: A Headbangers Journey, Iron Maiden Flight 666 and the TV documentary series Metal:Evolution among others.

PsychoStick Will Rock You Stupid or Die Trying

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Psychostick

So, Gwar, Tenacious D, Chimaira and System of a Down walk into a bar to watch a Weird Al Yankovic show and he’s doing a signature parody about food, let’s say tacos.  Then all of a sudden he changes career long lyrical content to STD’s and weird sexual acts and starts screaming and cussing. Let’s say you’re at an S.O.D show and Billy Milano’s screaming his poetry of anger, hate, politics, speaking English and killing yourself, except this time, it’s funny. Imagine moshing in a circle pit to ‘lighter’ almost acoustic ballads laughing at the same time. If your presumably drunk feeble mind can harness the brain cell’s to merge the above descriptions together you’ll get an idea of what a PsychoStick show’s like.

The self-proclaimed humor-core comedy metal band from Phoenix take all the angst, anger, depression, gloom, evil, sadness and other nasty stuff in metal and make it funny with wink-face smiley emoticons. BTW (by the way), they’re coming to McGuffy’s Saturday November 24th, so deal with it…., and Toledo the day after.  Even though their big hit’s called Beer don’t drink too much at their show you might piss yourself laughing.  Lyrically they bravely tackle taboo subjects like singing about songs, food, Facebook deletions, Hollywood BS, number counting, caffeine, groceries, orange’s and other subjects most other bands don’t have the balls too touch… (yes, pun intended). They play an unforgettable show (no matter how hard you try as you cry yourself to sleep) with goofy props, lyrical parodies, loud metal and sometimes stop mid-song for band discussions, bathroom breaks and texting.

They’re celebrating the holidays the only way they can by bringing out the jolly old man’s dark side and inner evil on the Santa’s an Assh-… tour. So far, they’ve earned success, disgust and a devoted loyal following their own way self-recording, producing, and marketing themselves anyway they can, short of selling out or the world’s oldest profession. They have 3 full length CD’s out. Their first, 2003’s We Couldn’t Think of a Title, 2009’s Sandwich and 2011’s similar titled Space Vampires VS Zombie Dinosaurs In 3D. They also have a festive Christmas record out honoring the season in the spirit of Bing Crosby and Perry Como called The Flesh Eating Rollerskate Holiday Joyride featuring Jolly Old Sadist and Red Snow.

They’ve played and shared festival bills with an impressive list including Green Jelly, Mushroomhead, Slipknot, Slayer, Anthrax, Motorhead, Disturbed, As I Lay Dying, Godsmack and Megadeth among others. They’ve even played a show with the equally humorous Venom, Pig Destroyer and NunSlaughter. They’ve played 21 national tours in 47 states and were probably banned in the others. They have a few videos out including Political Bum which could be seen as a comical comparison to Suicidal Tendencies’ Institutionalized and there’s a video about feminize pectoral major’s too. If they take themselves seriously, they don’t show it but they are definitely serious about being dumb.  Dayton’s Amongst Villains, Cincinnati’s Sleeping Tigers and The Fallen join the bill.

 

Genitorturers Violate McGuffys House of Rock… Again

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Miss Gen of the the Genitorturers onstage at McGuffy’s House of Rock (photo by Mike Ritchie)

McGuffy’s known for a long storied history of bringing in the best local/national bands might also be considered one of the bravest. Saturday November 3rdthey brought back one of metals most ballsy and brazen acts both in performance, visuals and themes. The Genitorturers, Tampa’s answer to extreme Vaudeville meets sadistic role play meets simulated ‘physical activity’ brought the BlackHeart Revolution back to Dayton for another night of intense debauchery, naughty nemphoism, and general overall depravity. They’ve probably scared Alice Cooper once or twice too.

Not only did the crowd get a tour de force of tantalizing freak show tinsel town as the main event they got two more bands as different to each other as they were to their ‘dominating’ headliner. Tonight may have been one of the most musically diverse bills to play the Mcguffy’s stage.

The Campaign 1984 (photo by Mike Ritchie)

High energy openers The Campaign 1984 have been making dirty southern rock with a sexy cynical edge on the east coast since 2004. Namesake based on the George Orwell novel. Matt Anderson’s stage performance and presence is as much about the music as it his own facial delivery of lyrical themes and subject matter. You may not be quite sure what he’s saying here and there, though his vocals are clean you can tell from every comical/cartoonish expression, eye role, movement  that he’s having fun and feeling it whether it’s delivered in sarcasm or sincerity. They’ve opened for Slash, Buck Cherry, Jackal and Red among others. 2010’s Sessions marks their fourth CD showcasing an always evolving sound. Stand in line for this Black Country Communion whisky bottle in hand with some AC/DC style rock with a black magic edge and a bit of North Carolina BLS Pride and Glory.  The slobber nockered bluesy jam blasts off with Queen of the Damned about one of the nasties of the street lit evening underworld. We get some Hot Love from the Werewolves of the industrial revolution. Slingblade (not the movie) tells us about those special ‘scene girls’ who’ve probably earned their rep for being Dixie Dynamite. They leave us drinking from the triple X’d jug with a Kiss. The campaign’s a black top gravel in the face dose of full-tank high octane trucker road rock ready for the next all-nighter.

Close the Hatch (Photo by Mike Ritchie)

Dayton’s Close The Hatch is not as much a band as it’s a disturbing musical assault on the mind and the bizarre, noir images the mind conjures during their shows. Their music is almost instrumental except for the intense Crowbar like growls of Stephen Barton. They play music that dream weaves its way into your subconscious and mental lobes. They incorporate a slow heavy sound with a classical edge and effects giving off a weird, eerie melancholy ambiance. Feelings of trauma and trepidation seep off stage slowing finger crawling toward the audience like a misty apparition.  It’s a slow musical journey into insanity with straight jacket wall slamming and a little bit of blissful serenity added to the gloom. They’ve figured out what an acid trip during a suicide note would sound like. They create multiple moments playing serene surroundings putting the mind in places it’s not exactly familiar or ok with. Imagine being in the high of a high in the deep end of a pool, floating near the bottom looking up at the sun’s reflection through the murphy clear waves, under the induced tranquil state of peaceful serenity unaware of the fast approaching panic your body tries to warn you. That last moment of dreamlike calm when your eyes close, body shuts down and permanently drift away. They’ve captured it. This is music for serial killers with serious mood swings.  Musically they’re Meshuggah meets Tool mediated by Opeth with the Deftones hanging around.

The Genitorurers (Photo by Mike Ritchie)

Now ladies and gentleman, boys and girls it’s time to watch what would happen if Wendy O Willams was resurrected by The Great Kat and both joined the circus, the devilishly delightful hostess of dominatrix Miss Gen. Clad throughout the evening in leather and lace, cape and illuminating top hat she was always dressed to kill. Playing the devils concubine, she’s the femme fatale to Dani’s filth, the queen to King Diamond’s dark kingdom and the conductor of the traveling ritualistic Sodom and Gomorrah metal road show that is The Genitorturers. Where there’s no shame, no taboos, no act too shocking and no liquid or dessert topping too good not to indulge in. If you like your loud metal shows full of lewd acts, Gwar-like costumes champagne simulations and whip cream climaxes you’re in for a sweet treat. They emerge through a blood splattered entrance way opening with their smash hit Cum Junkie, mistress Gen plays with her toys including an incriminating shiny butcher knife, some cute altered baby dolls, a whip and a few humans with a fetish for perverse PDA’s willing to experiment and experience the genitorture. The cast of damnation includes cutters, pole riders, an adult sized baby fresh from the morgue, an overbearing/over ruling judge whose moral/Miranda authority’s quickly diminished by majority rule. It’s thematically an X rated show done with horror movie elements, plenty of depravity, industrial gothic sound, side show sizzle, Halloween hijinks and back room sex club perversity with a creative, artsy feel.  She pulls out the evil inside her with a Devil in a Bottle and some Jim Bean unleashing her inner demons into the mic. It’s time to do some evil things, play tempting seduction games with a lollipop and deflower some virgins. One scantily clad lady comes out and makes a religious statement. It’s a busy multi-tasking sex show, without the nudity. We’ll Take It anyway they wanna give it, no pain no gain. They’re Public Enemy Number 1 in Sin City and the moral justice police just gave up the chase. They finished up by vocally touching themselves and saying goodnight. Something wicked definitely came.