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Moshpits & Lighters III Sells Out McGuffys

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December 17 McGuffy’s House of Rock cleared the seats and tables for a standing room only sell-out crowd of 500+ gathered to watch 8 bands play the one and only of its kind annual metal showcase spotlighting local talent and a few state bordering and elsewhere local friends. Seconds Fall, Nightbeast, Chambers of Chaos, Amongst Villains, The Action Blast, Avenue Sky, My Name in Vain and In The Cut played a nightlong showcase plowing through tunes and pummeling heads, brain cells and earlobes.

Seconds Fall

Seconds Fall

Seconds Fall/In The Cut singer Daniel DeDoncker was the mastermind behind the nights event. The goal was to sell out McGuffys with a local show and he accomplished it with lots of old school hard work dedication, heart and a true passion for music. He wanted to book a show with his favorite local/regional bands breaking the traditional 3-4 band bill with an entire evening of talent playing music across the spectrum. Bands both similar and completely different of each other are part of DeDonckers vision.  Another future goal is to organize 3-4 like events a year while opening for national bands. To sweeten the deal if DeDoncker and Co sold out Dayton’s House of Rock they’d earn a signed guitar on the coveted wall of fame. 2 ½ months of advertising went into the show using all social media outlets also employing  grassroots methods of word of mouth and multiple flier copies. The show focuses on all types of rock, and eventually he wants to do an outdoor event, a local X-Fest of sorts.

After three years apart DeDonckers first band Seconds Fall played an acoustic reunion set opening festivities. The band played the first two Moshpits & Lighters shows at Badda Bings in Kettering breaking bar attendance and sales records that night, and surpassing that number the year after. Past show alumni includes Fluwid, Occams Razor, Orange Williard, Chapter of Progress, Inept and Negative Process among others.

For the shows third year they enlisted the help of local ink masters Truth n Triumph Tattoo and model talents of Megyn, Jeni, Jenn, Courtney and Tonya the bewitching tattooed beauties of the Michigan Twisted Angels.

Local stand up Funny Bone regular laugh riot Bizcuit MC’d the show opening with his trademark tearful farewell to Twinkies and all out ariel assault of oatmeal crème cookies.
Seconds Fall started with the Lighter stuff, breaking out the electric acoustics for a stripped down performance that really brought out the emotion of all songs performed. Tesla did the five man acoustic jam, Seconds Fall did it with three. A lyrically passionate heavy set brought out by 12 electrically acoustic strings gave us Insignificant, End of Our Time, We All Need Hero’s, Don’t Give Up On Me and the first song they wrote Lipstick Revenge. DeDonker proves big hulking metal dudes can leave the beast growls and screaming in the dressing room (till later) and work the vocals a different way singing some beautiful tunes. They finished with Congulate concluding the Lighter side of things.
Avenue Sky

Avenue Sky

The cranium crunching began with Chambers of Chaos. Max Headroom yellow Mohawk sporting, slick sunglasses wearing Shaun Clark dared everyone to Enter My Ring growling out an aggressive pounding sound borrowing vox from Dez Fafara mixed with some dirty evil sounding Godsmack with a punk attack from somewhere beneath the earth. There’s definite chaos in the guitars bringing out a mass riot of a sound. They look like a nice friendly bunch of metal blokes, until they’re Pushed to Stand Against something with a deep rooted melody. We’re all Faceless in the crowd enjoying the heavy hype on stage. They leave us hungry for more with the darkly melodious long Kiss of Goodnight. Clark yells his lyrical agenda to the gathering with the fury of a dictator at the podium who wasn’t shy about flashing the bird, letting it soar for all to see. (Metal’s one of the very few genre’s where the middle finger can be used as a sign of camaraderie and respect).

Straight up north from the cold depths of Flint Michigan come Avenue Sky with a chilled string intro launching into Day of the Intruder. They Breathe one part metal, one part coffee house rock and one part indie aura. Formed in 2008, their influences are as diverse and unique as their onstage show. Dragonflies rings out with a jingling, jangling coffee house ballad feel, the strings almost having a piano like effect. According to Kevin Swisher, you ’can’ make babies to this song. A Storm That Burns is sung with an almost Michael Sweet (Stryper) delivery between the growling. There are some nice doses of sporadic /spastic fast footed dancing fury. Swisher and Co play homage to Killswitch Engage and King X’s Doug Pinnick.
Amongst Villains

Amongst Villains

McGuffy’s regulars Amongst Villains return hot off their set supporting Psychostick a few weeks back. Hardcore sweater wearer Josh Marshall rocked the holy living Huxtable out of his wholly holiday gear, sporting a killer ’stash. He can make any fabric look angry as he screams himself flannel red, throwing himself into everything he does. AV are a band that just can’t stop moving. They play their patented blend of hard, rough but southern strong proofed metal on Heavy is the Crown and a trip down the darkened bayou on Black River Ruin. They take us To The Grave Dragging Hell along the way.

Suddenly a fan took the stage grabbed the mic and unleashed a hypnotic fury of beats, blasts, human throat noises uttering danceable delicacies to the crowd while Nightbeast prepared to roar. Security and staff were too in awe watching him take his vocal chords to almost indescribable heights in a Bobby McFerrin on steroids performance to stop him.
Shaking in the cellar, scared out of your mind, breath fights for freedom as the beast lurks by. Fingers scratch the surface, as night air seeps in, blood red eyes pierce the darkness as your end comes….. crashing through the wall.  Well, maybe not as evil as that night beast but with no less a killer instinct for performance Dayton’s Nick Testa aka The Nightbeast, Lonn Friends unofficial twin brother plays a show unique in its presence and somewhat indescribable for the pen to translate. They show up with their own club mix, a band that must be seen to be properly heard and yes, they are a bit different. They bring out the shirtless inked aggression in true comedic form. Blending top 40, rap, hip hop, rock and ska, NightBeast ’could be’ best described as a schizophrenic natural ruthied dance club rock show tattooed male review remix on wheels. We start the pawty on a Fullride, no worries your future educations taken care of. Living Large is the on key Biz Markie version of Will Smith’s Summertime. They add Tenanious D, Weird Al Yankovic lyrics to a dizzying range of performance art and bizarre hijinks. But without PG-X rated humor there can be no Anger Phase. Those topless souls brave enough to perform with him include Sean Patton, Robbie Bauer, Jordan Elam, Ryan ’Asher’ Jones and John Lakes.
My Name in Vain

My Name in Vain

My Name in Vain

took the stage with towering skyscraper Josh ’slinky’ Miller at the helm celebrating their first year as a band playing heavy artillerist paced music with a thick shovel in steamy blacktop in maximum security grit feel. We took a trip back to the river bathhouse in all our shame because we’re all Poor People. Santa came out to spread some holiday cheer before he Departed.  (Writers note: MNIV was the first local and mainstream band I’ve reviewed for the website (Static X show) so seeing them again and being there was extra special for me)

Chicago’s Action Blast came out ready to prove all the Disbeliever’s wrong, performing with a solid serving of rock, hard melody, and infectious vocals combining the singing Skillet/Killswitch Engage style with God Forbid appearance and screaming. They tap the audiences reserve tank with some hard rock addictive octane. After they hit us with The Plague, they offer us some tail from the headless chick that’ll leave any man stone faced. By the end they’d Erased any doubt they came to deliver the Chi-Town goods.
In the Cut

In the Cut

The evenings local hero’s/headliners, In the Cut, hit the stage bringing the party to the people, honoring those who lasted all night with shots, hot chicks dancing, Santa Clause on guitar and giving the crowd plenty of loud face time. Also celebrating their first year as a band, the Onslaught started symbolically Crossing the Rubicon on stage. They didn’t wait Until the End to pull out a blistering blast of super 80’s power ballads. Tonight’s show had indeed been an incredible Journey of personal triumph and victory for DeDoncker and all performers proving that hard work and dedication does pay off and the local scene can and does carry  hardcore heavyweight drawing power. If Tomorrow Never Comes we’ll all feast and get Wasted on Hatred Divine. We finish M&L’s trio show with the voice of its creator from creation to damnation, from Eden to Exile. Their next show will be opening for religious icons P.O.D. on February 9th.

Psychostick Brings Humorous Holiday Hate to McGuffy’s

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Saturday November 24th humor core pioneers Psychostick brought their unique brand of side splitting heavy metal harmonious bedlam to the Dayton stage bringing their hits, misses and their version of some holiday tunes that to the uninitiated ear would probably sound best roasting on an open fire. They proved however you can have some fun with a few old time Christmas jingles and still sound like you’re pouring out poisonous eggnog to the holly jolly spirited sing along metal carolers.
Adding to the nights serious side were New York’s Xombie, Cincinnati’s The Fallen and Dayton’s Amongst Villains.
Hardcore New York based street kings Xombie opened with a very serious set performing with a Mad Ball/Primus feel and a Rage Against the Machine lyrical delivery. Their sound a self-described Hood Metal mixing hip hop/rap and metal into their own version of heavy street cred. Adam Cruz spits out lyrical novels every five minutes with a Henry Rollins/Mike Muir spoken word rapid fire pace. They soar high above the city smog in the metal heavens with the mighty Terrordactayl, work their game on the ladies G style on Excuse Me Miss and finish up with a PowerSmash giving the crowd something to remember them by.  There are plenty of Biohazard signs in New York but there’s a few more Beware of Xombies too.
The Fallen

The Fallen

Next are two hot chicks from Cincinnasty and the three guys that play music with them. The Fallen, a multi meaning moniker, most important definition being ‘Those that have fallen, will rise up from their knees with a new self-identity and fight another day.’ The band, a metal-core outfit, most members formally in alt metal band Chaotic Existence, they purged forward with a heavier sound and the sweet, harmonic, soothing  feminine growls and sexy screams of Tosha Montgomery. She spent the set sharing her Wicked Wisdom with the crowd with a Straight Line Stitch to the ear. They opened with the mysterious supernatural Ghost of the Unknown playing under the Blood Red Skies to the Last One Standing. They slow it down taking a seat on the speakers as Montgomery gives the throat demoness’s a break for a few minutes bringing out the inner diva for the first half of Dying, their monster 80’s power metal ballad tribute. Proving they’re a band not all about serious stuff they lighten the mood playing an instant crowd favorite about the nation’s love of ‘motorboating’.  The Fallen incorporate a unique blend of metal, mixing an early Slayer sound with Slipknot guitar grooves adding the vocal elements of Angela Gossow and Morgan Lander.

Amongst Villains

Amongst Villains

Just so everyone knows it takes a real badass to sport a white sweater/pink shirt ensemble at a metal show. It takes ever more guts to do it singing with a band onstage. Never the less Josh Marshall from Dayton’s southern metal outfit Amongst Villains looks ‘fabulous’ no matter who he’s wearing. To his credit the sweater came off and gave apologies for both. They’re a band of everyman, spit and shine with a bloody finger scratching the floor working man’s metal with a heavy loaded guitar sound with some Zakk Wylde southern comfort. We went on an intoxicated downstream trip on the Black River Ruin. They brought out a special guest from In the Cut to help out on Heavy is the Crown. They will be returning to the stage on December 15 for the Moshpits and Lighters III local metal showcase.

Psychostick

Psychostick

Psychostick could be considered a modern day version of Scatterbrain. They brought in the holidays early with the Santa’s an A—–e Tour, some pretty red wreaths and a giftwrapped drum kit for all. A huge inflatable jolly Chris Cringle rocks and bobbles on stage just like the big fat cholesterol filled bastard himself. The band thanked everyone for sacrificing their World of Warcraft Saturday to come out and hear some brutal Christmas metal. They welcome you to the show with Welcome to the Show a song sung as the opening song sung letting everyone know they’re at an f’n concert hearing the opening song sung. Concerts are badass, concerts are cool. Show us your middle fingers, you guys are dicks. Take out your car keys… hey don’t leave yet! Now jingle them to make a nice Christmassy sound! Now put them away and give your neighbor a hug (any metal band that can make metal dudes hug each other (some of which didn’t know each other) in public surrounded by hot chicks is well, a unique form of crowd control I guess). Concerts are bad ass, YEAH! Singer Rawrb sports a weird shiny foam spiked pointed hat thingy. Presumably a homemade version of Doc’s mind reading Back to the Future head helmet, pimped out for the occasion. Bassist Matty brings out his cartoonish nature with a head trip tribute to Bullwinkle and friends.  Now it’s time to break out the demonic ho’s, err holiday songs. The double bass pedal kickin yellow snow makin fun loving fury of Jingle Bell Metal. The double extended 24 second remix version of Silent Night followed by a sugary green and red light show filling all with angst and Christmas cheer, along with some curiously strong Jell-O shots. It was washed down with a delicious Sandwich for Santa. Psychostick is where hell and the North Pole collide in a huge pile of red snow. Switching gears we learn how to count to four with Drowning Pool, sort of. It’s an educational mathematically challenging show, elementary. Now that your brain hurts, Psychostick makes your body hurt with the most ingenious original invention every created with built in safety features, the slow motion mosh pit. In other words, the sssloooooww mootiooon moooosh piiiiit….  Old school circle pit! Ok, slower, everyone slower, slower, SLOWER! Stop moving, ok go! Next was a song dedicated to all the boobs in the house, you know… those blessed with less than average intellectually intelligent individual thought patterns. Returning to the holiday theme they sing about sh—y sweaters spreading some holiday Hate Times 8. They sure do hate all the haters who hate the other hating haters who hate the most. They don’t like Bing Crosby or people that hate eggnog either. Now it’s time for some Girl Directions, some girl directions, which way do I go woman? Uhm, like um, you go like uhm, that way, uhm….I guess. Speaking of bad directions this is the true story of Rudolf who killed people Dexter style, and was a blood red nosed freak of nature. System of a put the f’n pudding down! It’s time for the yogurt and eggnog lover’s song. Now, slow dance… by yourself! No clingy girlfriends. They wish you a Merry Christmas, they wish you a Merry Christmas, they wish you a Merry Christmas and a happy taco. A roll of large industrial size gift wrap crowd surfed on this one, along with a huge stuffed oversized taco. Now grab the guy with the sombrero! Next up is a song about the night Santa died fighting off the aliens. (live, on stage intermission brought to you by Hoagy Carmichael) And you know what goes great with Hoagies? Beer, that’s right beer, we all love beer, beer is good, let’s go drink beer with a girl named Ruthie. Time for the Wii, err WEE, worst encore ever. After all the hoopla, jokes, serious social commentary, yelling, screaming, wassailing it was time to send the crowd home happy or at least distracted with a song about hope, faith, high social morals and world peace about all the new year’s resolutions you won’t keep so, Happy F’n New Year from….. wait for it, PSYCHOSTICK!!!!

Psychostick

Psychostick

Tonight Psychostick proved to the dozens of hundreds of fans, including die hard super fan Rob Bowling, they’re one of the greatest, fastest, most brutal, melodic, jazzy, loudest, instrumental bands with loud vocals that perform comedy and Christmas metal songs from Phoenix on a tour called Santa’s an A—–e on the McGuffy’s stage in Dayton Ohio in late November of 2012 around 11 in the evening on a Saturday night at McGuffy’s House of Rock amongst other bands that do the exact same thing.

Meghna’s ‘Kind of Friend’ Set To Put Singer On The Radar

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Lyrics to songs tell stories.  To most songwriters, their songs tell the story of relationships in their lives.  When I spoke with the lead singer of the band Heartless Bastards Erika Wennerstrom this past summer, she told me that she would write about past relationships and how they molded her to be what she is today.  Eddie Vedder from Pearl Jam’s earlier work dealt with his relationship with his family.  During a sit down with local artist Meghna, she made perfect sense when she described what relationships are in her eyes, “They aren’t black and white.  There is a lot of gray.” On Saturday night the Oregon Express Bar and Restaurant, located in the Oregon District, will be presenting Meghna.  Meghna and her band, The Majority, will be releasing her third album, Kind of Friend.  Playing on the same bill is The Charlie Tipton Band.

MeghnaMeghna Mahambrey began singing when she took the stage in her elementary school musical.  In middle and high school, she participated in talent shows, where would sing songs from Mariah Carey, Whitney Houston, and the great Etta James.  With her love for singing, she decided to record her first EP in 2005 with the help of production team Music Without Borders.  Then she released her first LP, My Little Tape Recorder.  The album, released in 2007, was a creative fusion of R&B, mixed with the influences of music from around the world.  In 2010, Meghna teamed up with an old high school friend and released the album, Home.  The album, which she co-wrote most of the songs, ranged from folk to rock.

However, Kind of Friend is Meghna’s pride and joy to date.  In 2011, Meghna started to write songs about her recent relationships and friendships.  “I have some good relationships and some bad relationships”, Meghna explained.  “They have dramatically shaped me as a person, and that is what the new album is about.”  With the album, Meghna wrote all the songs, and worked with producer/owner of In The Red Studios Chris Suttle, guitarist Ken Walker, pianoist Jamie Preston, bassist Nathan Warden, and drummer Aaron Farrier.  The group helped Meghna start to play the keyboard again, an instrument that she hasn’t played in some time.  “The album is very heavily influenced of music from Norah Jones and The Civil Wars”, Meghna said to me during our sit down.  So, be expecting some great jazz influence, along with hints of country and folk.

 

The Charlie Tipton Band is another fantastic band that will be performing on Saturday night.  The band provides great Americana music, with the influences of Ryan Adams and Willie Nelson that leaves the crowd breathless.  The band also combines rock and roll into their live performance, adding a level of angst that keeps you on your toes.  If you haven’t had the chance to see The Charlie Tipton Band, this will be one of the best times to see them.  Both acts Saturday night will be telling great stories about love, friendships, and life through their music.  Show starts at 9pm at the Oregon Express Bar.  

 

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All Good Festival Announces 2013 Dates, Nominated as ‘Music Festival of the Year’

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The 2012 All Good Festival

Returning to Legend Valley in Central Ohio for the second year in a row, the All Good Festival announced dates for the 17th annual event taking place July 18 – 21, 2013.

Following 16 years of putting on the All Good Festival, the event was recently nominated by leading live music industry trade magazine, Pollstar, for 2012 ‘Music Festival of the Year.  Festival co-founder Tim Walther stated, “We are thrilled to be recognized by our peers in the industry – this Pollstar nomination is a huge honor. We would not be where we are today without the support of the thousands of fans nationwide and our world-class crew, all who converge for a fantastic summer weekend of music and community. We thank everyone for their support.”

Following 10 years in West Virginia, the All Good Festival debuted in Ohio in 2012, at the site of the former Buckeye Lake Music Center where the Grateful Dead did some of their largest outdoor performances in the 1980s and 90s. A lineup announcement is forthcoming later this winter with festival tickets slated to go on sale in conjunction with the unveiling of the lineup.

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.

SITH, Forces of Nature, King Stench Cross Streams with Zuel at Hanks Pub

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Shadows in the Hourglass

Friday night November 16th  one of Dayton‘s long standing staples and supporters of local music Hank’s Pub hosted a noisy evening showcasing some of Dayton’s finest metal minions. Shadows in the Hourglass, Forces of Nature, King Stench and Zuel played like true metal masters, banging the heads of the cozy crowd. Offering a bullet belted buffet of heavy elements and styles. Not one head bang or evil growl was the same.

Bassist Zack Ryan and Travis Abling play passing away the sands of time delivering their two instrument musical torso. They’re missing the guitars and singer and they’re damn proud of it too. Carrying a show on four strings and some drums is a beautiful thing to hear when SITH happens. Nicknamed Showers in The Hourglass for the evening they bathed the crowd in deep bass patterns backed by fast intricate drum conversations. Ryans fingers played us into the dark caverns of the brain, the strings putting mental tip toeing, footsteps and running in the mind. There’s some funk with the shadows too. He shows off some skill fluctuating styles bringing Flea, Cliff Burton and Geezer Butler into the room. Abling lays the groundwork for Ryan to play with beating the crap out of his kit, in the nicest possible way. Sadly this was their last show of the year but as long as the Mayans don’t get their way they’ll be back next ‘13.

Forces of Nature

Next is the bloody reign of Slayer, Mudvayne and Pantera giftwrapped in barbed wire just in time for the holidays.  Only these Forces of Nature can control the Seasons in the Abyss. They break out the heavy artillery, pile-driving your head into a bulldozer. Singer Tate Moore screams and screeches sound like he’s trapped in a sewer drain lungs filled with septic fluid, spewing all kinds of nasty vermin. Guitarists Marc Godsey and Jimmy Rose trade crunchy, munchy guitar riffs torn off rusty chains of gristle. Johnnie Wallace plays the bass like it’s the deep voice of hell coming for you. Of course behind every four good big, bad, creepy metal dudes is always a better woman, who could probably beats the skin off of any drum head, the lovely Mrs. Shannon Godsey. The bigger Godsey plays with Kerry King goliath sound harnessing the bands dark live power. Playing with speed and Dimebag thrash he brings all the necessary demons howling out of his electric twanger. They opened with Magnus Lee, Nevermore (not the band), the feet stomping chug and Chromatic Death breakdowns of Mary Hates Herself.  Formed in 1999 and revamped in 2009, they’re a few years into their second decade of aggression. They play us the sound twisting, weaving tune with the twisted smiling face of the Dark Carnival. They play nice Throwing Fists just close enough to pleasantly assault the ear but not cause serious damage. They go from the stage to the mystery machine and deal out some serious shredding Scooby Snacks on EX-6-DEZMO. Forces of Nature bring all the elements and can play it all from breakneck guitar speed, seismic solos and slower melodic The Legacy type ballads and bringing down the lightning of the gods with instrumental material.

King Stench

There’s something rotten in Denmark, or Dayton which means there’s a foul stench in the air created by King Stench. His Dan Lilker looking highness summons the mighty forces of evil dark black metal unleashing an old school sound down from the deepest, darkest, backwoods used crawlspace. With possessed grizzly bear growling and a naturally dark aura they play homage to the forefathers of the macabre musical genre including Venom, Mayhem, Immortal and a horde of other corpse painters.  Mr. Godsey plays double duty on bass and the newlywed Hammering Hobbit plays the blast beat, deep forest outhouse bowels out of his drums. Yes, under Ohio law it is legal for hobbits to marry. Cess Pool on guitar rounds out this stinking pile of Hellish Odorous Local Royalty.  Hells Gate opens revealing the Putrid Remains of False Prophets. The Ungod would be proud of new tune Eternal Flame. Visions of the Goat Lord are next then we Fight for out Last Breath against the Hell Hounds, finishing with a Premonition of Devastation.  They’re single handedly playing out the demons from hell and bringing them to Dayton. Thanks guys.

There is no Dana, only Zuel. It’d seem like a no brainer to name your metal band after the feminine Gatekeeping minion of Gozer and sometimes drooling devilish canine worshipped by the Sumerians and Hittites in 6000 BC and subsequently overthrown by the Babylonian goddess Tiamat and banished to another dimension.  But the guys from Zuel decided to be even cooler, changing the spelling and name it after the red eyed devil dog that lived in Sigourney Weaver’s refrigerator in the mid-eighties. In Ghostbusting terms they very well could be the 35 foot long, 600 LB, Twinkie of local instrumental metal, “IF” you can find one. Born in the summer of 2009, they’re a band with no gimmicks, no trends and no scene hair, which’ve recently gone voiceless so now only the music matters. They come right out and hit us with a prog, Helmet style guitar prodding taste of Morbid Angel with a S—t Hammer in the b—s. They prove they truly are Bill’s Gate Keeper on Microsoft Rapture. They slowly build up with solid steel spiked steps, jerking and jarring with sudden starts, stops, jolts and snaps. They show off some easy going groovy jazz then speed up the sound race sending you sprinting down the stairs as a building collapse’s above you. They add a little Zep to their dazed and confused set of intricate instrumentalism.

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.

Alrosa Villa Celebrates 38 Years with the Voice of Queensryche.

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Since August 1974 Alrosa Villa has been a Columbus tour stop mecca for the world of music to come to entertain, perform and generally kick ass. The Villa’s been a staple of the northern Ohio music scene for almost four decades and continues to bring the best bands on all levels through its historic doors.   Besides hundreds of the best local and regional bands; a who’s who of rock n roll fame and infamy has come to ransack the place and play its hallowed stage. The royalty includes Ace Frehley, Peter Criss, Brian Johnson, 80’s legends/ hair metal kings David Lee Roth, Ratt, Bret Michaels, 90’s goth pioneers Type O Negative, one of metal’s Godfather’s Dio, the legendary Motorhead, masked men Slipknot, the southern charm of Jackal, White Zombie, Suicidal Tendencies, Devil Driver, Mushroomhead, Pantera, Korn, Overkill, Inflames, Lamb of God and countless more.
It’s fitting that Queensryche played a show here in the early 80’s as they’ve brought back the voice that helped propel the band to global success with eleven records, a collection of DVD’s and 20 million records sold worldwide. A man whose voice is one of the most listenable, identified, soothing yet haunting to hear and is responsible for verbal warnings, operating mind-crime, building empires, singing about the Promise Land then another frontier, calling out the tribes for Moore mind-crime and singing for the American soldiers dealing with the chaos. The voice, known as Geoff Tate joined the band, formally The Mob in 1982 after the success of the name changing EP’s title Queen of the Reich. The Metal umlaut aka rock dots above the Y is a Greek punctuation inferring unique pronunciation as they didn’t want a connection with certain parts of Euro history.

No Reverse Gear

His solo work includes the 2002 self-titled disc, guest vocals on Lucy In The Sky with Diamonds on Butchering The Beatles: A Headbashing Tribute, Summerwind on 2011’s Sin-atra and this year’s Kings&Thieves. Alrosa, Columbus and all those who attended had a blast hearing the man whose voice is synonymous with some of the all-time great metal songs/concept records and is Hit Parader’s #14 greatest voice of all time and recently voted That Metal Show’s #2.

The best of the local’s tradition continued as Columbus’s No Reverse Gear started the celebration playing some down n dirty southern jailhouse rock and catchin’ the Southbound railroad train to freedom blues. Backup singer Allix sings the soulful, heartbreaking blues behind lead singer/guitarist/patriarch Rod Knapp, who plays sly with the steel fingered guitar and harmonica. He does his time on stage with a smirk and smile telling us about all of life’s experiences, women and past and present hardships.  It’s time to go Home though the Dinal Festination isn’t clear. Life has No Reserve Gear so speed it up and live it up the best you can. A philosophy spoken by a man who’s band is definitely a family affair.

Roxy Mae

Straight from the most hair spray soaked, back streets punked out parts of Columbus come the three man band Roxy Mae. Named after a special working lady they’re as red blooded as any American male from Ohio’s capital. Playing a nostalgic aqua gel throwback mix of dirty garage rock, hard hair metal and pissed of punk they’d make anyone from LA Guns to Michael Monroe to Jetboy proud. Too bad they weren’t around in the mid-late 80’s they could’ve given Roxy Blue, Tuff and Britney Fox among countless others a sleazy run for Sunset superiority. The KMFDM wearing bassist Joe Estes is apparently the ‘punk’ of the group while black leather pants/bandanna wearing guitarist Matt Starr sported a gypsy/biker look complete with a time warp hair tease. Somewhere Phil Lewis and Faster Pussycat are smiling. Drummer JJ Kilimchuk has a lot of Joey Kramer in him. Playing their namesake tune, Dirty Girl and a tribute to Poison minus the makeup they showed what the new nostalgia sound of 2012 sounds like.

Louie Owings

Next up, one of the nights special attractions, guitar prodigy in the making, rockstar and future headliner in the making 11 year old Louie Owings took over the stage playing a crowd roaring rendition of the Star Spangled Banner showing knowledge beyond his years adding in a bit of Hendrix style. He would’ve done the tricks too but the guitar was almost bigger than him. After the crowd yelled for more, he encored showing off his chops and metal muscle with Highway to Hell. Raising hands for reaction, throwing up the thorns he sported genuine rock n roll prowess, letting out a rebel yell before taking a bow saying thank you and goodnight. Having a built in rock n roll family heritage the kids gonna be a star. Future appearances/autograph signing s and gigs can be booked through the Alrosa staff.

Level 7

Next up is quite possibly the most original cover band…ever. Level 7 play everything from the classics to the most recent and everything in between. They perform with such an addictive/bombastic energy if you didn’t know better you’d think the songs were theirs. In fact, they’re one of the only bands apparently brave, brazen and good enough through performance to play songs by Aerosmith, Alice Cooper, Black Crowes, AC/DC and Kiss making them their own. With over 140 years of collective industry experience they are a force in the Columbus scene rivaling any national touring band. While there’s a unique dichotomy within the band as half look like real bonified rockstars fresh from Cali and other half look like the guy next door mowing his lawn on Sunday giving them as a whole, the perfect look. Singer Doug Savage IS a rockstar starting at an early age with a storied local history and major LA and touring cred, rubbing elbows with Ted Nugent, Zakk Wylde and many others. He brings the attitude and over the top rebellious attitude of Sebastian Bach, the flamboyance of David Lee Roth and the look of Bret Michaels. Opening with some serious rock n roll thunder they slam into a bigger than life show and their version of Toys, it was a time travel transplant back to the west coast. They played a Remedy for our ears then made us feel 18 again. Their mega-popularity showed in the crowd though they’d only formed in 2009. If a cover band ever looked like they’d lived a few Behind the Music stories, Level 7 is that band. Though we were nothing close to Cumbersome, they played it anyway the band temporary becoming Level Seven Mary Three. We got some Sweet Emotion; very apropos being it was Savage’s first Alrosa appearance since 1987. I’m sure over the years some serious dirty deeds were done on that stage but for now we get a Jailbreak. They turned Columbus into Detroit Rock City then rocked out a finale like a Crazy Bitch. Guitarist Sean ‘Riff’ Green, a 20 year local hero plays with the intensity and skill of a tour seasoned pro. Guitarist Daryl Wolford brought part of his guitar arsenal, merging sound and solos with Green. Lennard James bassist stood an intimidating sight, resembling a giant metal beast giving fans the heaviest sound possible. Called “a walking definition of versatility” by Modern Drummer Magazine Marty Brasington lived up to the billing in spades.

Geoff Tate

Many things have been said about Mr. Tate’s voice and four octave range. Though the voice is only one part of the performance, using his hypnotic eyes, body language and motion to convey the deepest emotions in his songs whether, pain, sorrow, happiness, humor or satisfaction emerge. He tells a story with one intense look or stare, one quick motion or convulsion, radiating a unique aura of mystery, sensuality and class, showing off sexuality for the ladies while staying macho for the guys. He encompasses the world renowned global front man he is but also comes across like a regular guy at times. Wearing heart on sleeve he sings the songs he’s known for along with solo material old and new, sipping only the best fine Insania red wine during the show. He smiles along sharing interesting road stories, particular one about being in the heat of New Orleans walking into a large voodoo ritual and ending up discussing taboo subjects with a 70’ish year old lady. He also advised what to do when you get the ‘silent treatment’.  He walks the stage casually playing the every-day kinda guy talking to people having some good natured fun with the ladies. One fortunate lady’s hair got a personally applied douse of authentic Geoff sweat; it may never see shampoo again. Tate reminds us that no matter how high you fly, always keep one foot in the dirt.

Joined by long time collaborator Donny Evola on guitars he appeared onstage dancing to the tribal drum beat persuading us into the murky depths of Forever. We revisit Q2K on Sacred Ground then he leaves us Disconnected in the Promised Land sax in hand. This is real, this is now, and this is the first new Kings & Thieves tune delivering the sexy sax playing, cathedral mix of The Way I Roll. Tonight’s a reminder there are no rules, just open your heart and let it Flood. We’re all Helpless, drawn into the performance. We go back to The Real World from the Last Action Hero Soundtrack dedicated to composer Michael Kamen who Tate met in 1984 and worked on Suite Sister Mary and Silent Lucidity. There’s a few thing’s Seattle’s famous for, coffee, caffeine addictions and lots and lots of rain.  It’s just Another Rainy Night in Columbus. We go old-school on The Killing Words then new school and Take a Bullet for the Dark Money, In The Dirt. Yep, we Got It Bad but we already knew so Say U Love It. We all Walk the Thin Line with A Grain of Faith. He finished up telling a story about an emotional fan telling him about the best song he ever wrote that saved his life. You know, Silent in Tennessee. The night ended on a long trip with the Jet City Woman. Kings&Thieves, other merch, tour info and fine wine is available at www.geofftate.com.
The evening’s celebration was over and another packed house of sweaty, tired, hoarse fans leave the Villa adding their names to the long, ever growing list of satisfied concert goers to the Alrosa guest book. Whether you’ve been there once, twice or you’re an area regular, Alrosa Villa continues to be an intimate alternative to the huge rock arenas where you can actually almost touch your favorite Rock God and despite one tragic night, their reputation’s been solidified on its autographed walls and the streets of Columbus. In other words, they’re here for another 38years… and counting.

Signs of Life Fill The Floyd Void at Gilly’s

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The music of Pink Floyd has been described by many as timeless, emotional, epic, classic, genre defying, transcending and most important, immortal. They have an almost hypnotic mass appeal to so many generations separated by years and often decades. They’re one of the few bands mom, dad and the kids can all agree on, whether they’ll admit it or not. They’ve walked the line of being rock but not loud enough to hurt the ears but catchy, bluesy and soulful enough to appeal to almost everyone. No matter what level of fandom you’re at, you know a Pink Floyd song when you hear it.

By concept, visuals and most important outstanding, groundbreaking and pioneering musical precession they’ve stood the test of time and will continue influencing bands for years to come. You don’t see Pink Floyd, you experience them, you don’t listen to them, you feel them, playing right into your inner most senses.  Signs of Life: The Essence of Pink Floyd brings their stadium show into the theater/club environment. Creating the intense sonic audio bombast, intense eye popping visuals and space age, atmospheric trippy lighting that made Pink Floyd one of the greatest bands to watch, and hear, ever. Lead vocalist, guitarist Jon Stankorb plays a mean David Gilmour, putting his own vocals on par with one of music’s most iconic voices. Bass and backing vocals John Hoerr puts the same galloping, haunting sound on the four strings as Roger Waters. Rich Biondo creates the extra guitar sound and ambiance. Atmosphere master Tom Bartel effortlessly takes the legendary sounds surrounding Gilmour, Barrett, Waters and Mason created by Richard Wright adding his own intuitive interpretation making all the moods happen on keys and effects. Tony Sager fills the drum kit nicely for the one original Floyd member that appeared on every album, Nick Mason. Saxist, percussion and vocalist Dan Barger makes Floyd sound just as saxy as the original boys did. Reyna Spears and Akilah Ruiz sing out the majestic heart and soul of the band.

Their third visit to the Gilly’s stage, they emerge to a packed house In The Flesh, ready and welcome to the show. Pink couldn’t make it tonight but you definitely get the next best thing. Helicopter effects fill the room. We don’t need no education, no thoughts controlled or dark sarcasm in the nightclub. Hey teacher, leave those fans alone. The acoustics debut, Mother do you think they’ll like this song? Mother can Pigs fly? There’s one on the Wing. Yes son, they accompany the Dogs of war….welcome my son, Welcome to the Machine! So… you think you can tell, heaven from hell? (For everyone that wasn’t there) Wish You Were Here. Next up is 14 minutes of audio bliss, Shine On. The show’s first half ends with the guitar grinding roar of Sorrow.

They return with the sole intention of Learning to Fly…. One of These days. After the edgy guitar work and audio aura they calm things down and get nice and mellow. The performance is a shared experience of everything that made Pink Floyd, Pink Floyd, just Us & Them.  The somber tranquility is broken by the sensory shattering sounds of alarms, chimes and grandfather clocks followed by the slow dramatic guitar crunching buildup in Time.  The beginning plucked acoustic almost whispering strings and moody bass of Hey You followed. Then cash registers clanged, receipts were made and coins poured as the Money flowed. Next we took a trip back to the early 90’s and hear the Division Bell. It’s been said that Pink Floyd’s music is the closest thing to hearing the voices and sounds of heaven, this could be true but for now we’re happy to take a trip into space with the lunatic in our head for some Brain Damage and an Eclipse on the Dark Side of the Moon. Signs of Life makes you Comfortably Numb in a good way. They end with the guitar echoing stadium encore pleaser Run Like Hell.

Formed in 2009, they authentically capture the Pink Floyd live experience. They don’t just play the songs, they’ve engineered a concert going experience paying tribute, showing respect and adding their own spin, touch and take on the classics. For two sets the audience is bathed in the shimmering glow of stage lights and stimulated by Floyd’esk screen visuals and symbolism. They’ve played to packed houses and won over the most die-hard and hard to impress fans to the most casual radio fan. Their accuracy to the material is near pin-point while making it just different enough keeping their own identity. For the most part they play different sets every show, sometimes playing big hits early, doing lesser known material from the early years at different times but keeping an even balance and respect of each era and what a Pink Floyd set-list would look like. There’s little talking besides band introduction. The performance is complete delivery and respect of the music. If any band deserved a tribute it’s definitely Pink Floyd. Stankorb says hearing the sounds Gilmour made come out of a guitar inspired him to do the same. They’re not just up there playing the songs with guitars, drums and keyboards. They have multiple instruments changes, bongo drums, sax, chimes and other odd instruments that make the show uniquely their own. They’re also working on idea’s for bigger props like the physical brick wall and inflatable characters to bring an even bigger show to the fans. Indeed this is The Essence of Pink Floyd.

Vandalia Vixens Ignite Spitfire Lounge

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A Clockwork Soul

Saturday October 13 three female powerhouse voices played the Spitfire stage. Some growled, some sang, some yelled but all carried and delivered one hell of a vocal wallop. Windowing Hollow productions once again books another kick ass show, this time showcasing the ladies. The evening also celebrated one brand new special lady in the form of W.H. promoter John’s new granddaughter Jalyn Michelle born at 1pm at 7lbs 1 ounce.

Up first A ClockWork Soul featuring blonde Amazonian bombshell Mystie Rose sporting steel coated vocal chords that growl, screech, yell and sooth the most gentle or jaded of ears. Dressed in black, sporting handcuffs, chains, biker attire and who knows what else, Rose has a ‘slightly’ commanding, dominating presence earning her femme fatale status. She looks like she belongs on any stage she chooses to stand on. A modern day Janis Joplin with attitude and a little Otep too, with a voice carrying the husky sexiness of Nina Blackwood that will growl you into submission and claw its way gently into your heart. She’s not the kind of girl who has to act tough, she legitimately looks like she could step into a cage and maim someone then sing a song about it.
Until The End carries a living on the mean streets, fight for survival desolation. Rose growls into the mic shaking with violent rage, eyes wide with killer instinct and a lioness’s fury. Tonight she lays claim to queen of the jungle. The soft synth waved intro of Out There is treated with her softer voice picking up fever as she goes. She sings with the voice of experience, carrying, delivering the emotions and living the stories within the songs. Count The Ways is all about that special someone we meet and think the search is over then find out she’s a complete psycho bitch. They do a very unexpected tribute to Don Henley with The Boys of Summer. I doubt any Henley song will ever be played that heavy or loud again. In conclusion, Out on the road today, I saw a ClockWork Soul sticker on a Cadillac, a little voice inside my head said ‘Don’t look back you can never look back.’

Gathering Mercury

Named after a song by Men at Work’s Colin Hay, Dayton’s Gathering Mercury play with a rock, metal, punk attitude all of which are reflected in singer/guitarist Ashley Stacey’s hot hairdo. The young runaway sports a remarkable resemble to Kelly Osbourne and Jane Wiedlin playing with the same rebellious heart and youth. Her vocals carry the attitude and cat like scratch of Joan Jett. While her influences range from Avril Lavigne to Pat Benatar to Pink, she’s been performing since age 9 which now would make her 18th year sound like a veteran age. Her style doesn’t carry the in your face soulful wailing of Janis Joplin but instead packages it in a more subtle but attractive manor.  She sings the songs with a mix of innocent breathy delivery, edgy feminine punk aggression and inherent cuteness with the seeds of success firmly planted. They play originals I Give, Not Too Late and Nothing To Me with a catchy indie rock flavor while the laid back bluesy Where The Others Go flirts with ballad territory every few minutes but sticks with its loud sound. They also showed respect to the music culture of the early 70’s playing some Rock n Roll Hoochie Koo perhaps louder than Johnny Winter or Rick Derringer ever intended. Bassist Quique Bucio even dressed up for the occasion.  They also decide to Paint It Black with The Rolling Stones and the wild frantic playing, soloing of guitarist Max Mobarry flipping his red mane around like his head was on fire.

Killed by Art

Today’s a good day to be Killed By Art. Though they play with a certain murderous skill their sound is nothing but life affirming to the ears. Singer Kimberly Weiss’s soulful gritty voice takes a page from 4 Non Blondes Linda Perry. They break out the best grit and grime of the good grunge. Roots plays with a down n dirty guitar dragging the water straight from the Louisiana bayou.  She pulls Joplin’s spirit from the other side incorporating it into her own tribute to the lost voices of history. CD opener Stolen starts out smooth as silk loaded with bass emotion slowly building up a few catchy up and downward spiral hills tag teaming with heavy guitar crescendos.   New tunes Down and Dark Hero were tried out and met with loud reaction.

The bands sound resembles a mosh pit mixture of Alice In Chains, Down, Fight and BLS. Weiss’s voice has an Eurythmic charm with lots of Heart and maybe a hint of GA GA. Their CD Habeas Corpus can be downloaded at www.facebook.com/KilledByArt.

Kickstarting Local Musical Projects With Fan Funding

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Over the past year or so, we’ve seen several local bands turn to their fans for funding musical projects.  The Motel Beds, Me & Mountains and Jasper the Colossal are just 3 of the bands who have been able to release new material thanks to successful campaigns on Kickstarter. There are currently 4 great local music projects on Kickstarter*, some with a deadline just around the corner and one that’s just launched.

Deadline: October 22nd
Trey Stone’s first full studio album, Ahead of the Pack

Trey Stone is the former music director of Chicago’s famous Second City Theater.  He’s landed in Dayton, has been an active participant in the music scene for a while now and is looking to complete his first full length album. Stone has already begun the recording process at Dayton’s Cyberteknics Studio so project funding will go towards the mixing and mastering of final product. Ahead of the Pack will feature Stone’s blend of rock and roll and country with a bit of a funky New Orleans twist.

Deadline: October 26th
Help F.M. Records reach WORLD DOMINATION!

F.M. records goal is to help local and Midwestern bands reach both a local and larger audience through recording, pressing, and distribution, while keeping it all in house. Founder Dustie Pitstick says: “We have an insane amount of local talent, as we have for years. It’s time for everyone to realize that. By talent I mean bands, studio engineers, artists, shops to sell in, and some of the most loyal listeners anyone could ask for. We truly have all the key ingredients in Dayton, so why bother to snub all the great locals who help out and send our work elsewhere? We plan to keep everything in house, and really tap into the potential of a city big enough to have a great music scene, but still small enough to be a tight, self supporting collective… All while putting out diverse and amazing music from so many talented locals!”  Project funding will help F.M. Records stock up on the necessary supplies to release its first 4-8 albums, the profits from which will go toward funding future releases.

Mandy Jewell

Deadline: November 5th
Mandy Jewell’s 1st Professional Demo

Mandy Jewell has been part of the open-mic/Musicians’ Co-op scene in Dayton for many years and has a passion for songwriting, but she’s never released a recording of her music.  Jewell’s songs have an alt-country influence in the vein of Kathleen Edwards.  Project funding will go towards producing a full length album or an EP.

Deadline: December 10th
Triad a new album by James Murrell

Jazz guitarist James Murrell has been a staple of the local jazz scene for several years.  His new album, Triad aims to feature old and new material record in collaboration with local musician serving as guest performing and will be recorded in the Dayton area.  Short solo guitar pieces will also be featured on the album.  Project funding will go toward the recording and production costs for Triad.
To see videos and learn more about each of these projects, including the incentives for backers, visit Kickstarter and search for Dayton, OH.

*Note:  there currently aren’t any local music projects on Indiegogo, a funding site similar to Kickstarter, but there are quite a few local, independent film projects including Filmdayton’s Freak Club web series.  So if you’re looking to support local projects in other realms, check there as well.

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.

Led Zeppelin + Merchants of Bollywood + Atlas Shrugged Part 2 + Argo + TICKET CONTEST

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Hello Dayton! This week mainly focuses on new openings for the week. Lots of new movies as well of special events this week, be sure to check it out!

LED ZEPPELIN: CELEBRATION DAY- WEDNESDAY, OCTOBER 17TH @ 7PM & 10PM

On December 10, 2007, Led Zeppelin took the stage at London’s O2 Arena to headline a tribute concert for dear friend and Atlantic Records founder Ahmet Ertegun. What followed was a two-hour-plus tour de force of the band’s signature blues-infused rock ’n’ roll that instantly became part of the legend of Led Zeppelin. Founding members John Paul Jones, Jimmy Page and Robert Plant were joined by Jason Bonham, the son of their late drummer John Bonham, to perform 16 songs from their celebrated catalog including landmark tracks “Whole Lotta Love,” “Rock And Roll,” “Kashmir,” and “Stairway To Heaven.”

Although 20 million people applied for tickets, the band’s first headline show in 27 years was seen only by the 18,000 ticket holders who were fortunate enough to have secured seats through the worldwide lottery.

[yframe url=’http://www.youtube.com/watch?v=VbusDxLekPQ’]

MERCHANTS OF BOLLYWOOD THURSDAY, OCTOBER 18TH @ 9PM

Bollywood a special event comes to the big screen captured live on stage in Digital HD and Surround Sound at the Tivoli Theatre in Barcelona. This smash hit theatre production been seen by over two million people during the sell out International Tours in London, Berlin, Hamburg, Vienna, Amsterdam, Frankfurt, Munich, Zurich and Geneva.

A theatrical musical spectacular, now captured live on HD Digital, The Merchants of Bollywood charts the enchanting history of the world’s largest and most prolific film Industry, and a dynasty of stars that have lit its way over generations. A fictional story, yet based on real life, the Merchant Family.

Featuring a cast of 40 performers direct from the Film City Mumbai, the home of Bollywood Cinema, The Merchants of Bollywood will entertain with all of the extravagance, escapism, and romance that is Bollywood. Bangles and beads, swirling colours in costumes and sets and high energy music, will excite the senses.

The Merchants of Bollywood has captured the essence of India, its rich and diverse culture, and its people in the world of technicolour brilliance acclaimed by patrons and reviewers alike.

[yframe url=’http://www.youtube.com/watch?v=XqYH2yTMhYs’]

 

ATLAS SHRUGGED II- OPENING OCTOBER 12TH

With the global economy on the brink of collapse, Dagny Taggart discovers what might be the answer to a mounting energy crisis and races against the clock to prevent the motor of the World from being stopped for good.

[yframe url=’http://www.youtube.com/watch?v=3rKBubmlrjQ’]

ARGO- OPENING OCTOBER 12TH

As the Iranian revolution reaches a boiling point, a CIA ‘exfiltration’ specialist concocts a risky plan to free six Americans who have found shelter at the home of the Canadian ambassador.

[yframe url=’http://www.youtube.com/watch?v=w918Eh3fij0′]

 

For showtimes click here

ENTER TO WIN TWO MOVIE PASSES!

Fill out the form below and leave a FB comment telling us that YOU want to win a pair of passes to Rave Cinemas Dayton South. We will randomly draw a winner and notify same. Contest closes 10/11/12. Passes awarded will be valid for 30 days from close date at Rave Cinemas Dayton South only and must be used by then or will be forfeited. Valid for any showing, except special events. Please bring ID to verify your name and just ask for a manager when attending informing them you won the Dayton Most Metro contest.

CONTEST CLOSED

Congratulations to our winner: Cheryl Miller

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.

WSWO Announces Annual Record Sale Blowout

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Vinyl collectors, mark your calendars for November 10th and 11th when low power FM radio station WSWO will hold its annual record sale.  A wealth of music will be available for sale in an event that benefits the community station.

Local sponsors have donated various items for raffle prizes to raise additional money for the station, including a new USB digital turntable and record care accessories from Omega Music in downtown Dayton.

Known as “Ultimate Oldies Radio,” WSWO 97.5 & 101.1FM airs material that charted during the first 3 decades of rock and roll and is accented with jazz, R&B and cross over religious & country artists, also broadcasting Wayne Warrior sporting events and community based religious programming.  The record sale is the nonprofit station’s biggest fundraiser of the year; the rest of its budget is fleshed out by listener donations and sponsorships from local businesses.

WSWO is still taking music donations through November 1st of gently used 45’s, LP’s, CD’s & cassettes (no 78’s) as well as working turntables & jukeboxes. Donations can be taken to The Heights Cafe’ also located in the Huber Center, or arrangements can be made through the station.