As a photographer, I often get the esteemed privilege of getting just a little bit closer than everyone else to some of my favorite musicians, if for a little while. Three songs and done per artist is often the rule of thumb, and then you’re likely to find us standing either stage right or left, watching the rest of the set from a profile view or with our noses down, whittling away all the blacked out and blurry shots we might have snapped. But this time it was different: no photo pit, just a barricade, bands, and fans. So when I planted myself center stage 20 minutes before the local acts began rumbling from the speakers, I knew that I wouldn’t be giving up that spot for the next four or more hours. It had been so long since I’d been in the midst of things, the welcome embrace of a true concert-goer experience overwhelmed me at times, and provided me its own weight in photo benefits and challenges. I’m happy that I was able to share it with so many others as we crammed close to the Fish Head Cantina stage on September 13 and witnessed one band after another deliver great performances. Click here for the full photo gallery! Inoculum was the first local Maryland opener, but one need simply listen to their EP Antigen to be blown away by not only the musical talent, but the production quality behind this act. Quickly the view that I had captured became far more crowded with another row or two of intrigued listeners and dedicated fans. It’s rare for me to see this sort of draw from a regional act, but the fact is that this group was truly impressive. The first act had been a rather straight-forward display of metal music in terms of appearance, but the Sonic Creeps took it to a gothic, 80s post-apocalyptic extreme. Donning facepaint, gas masks, and other attire that would make the Misfits proud, the sextet unleashed songs such as “Return Of Ed Harley,” their new single, “Angry Red Planet.” An even larger crowd had gathered around me at this point, many seemingly quite familiar with this second regional group, singing along themselves. Striker: Official Website | Facebook | Twitter | Instagram | YouTube New self-titled album: iTunes | Amazon | CDBaby The high-pitched wail sounding from one of Striker’s classic tunes pierced my ears, but rather than coming from vocalist, Dan Cleary, it was being emitted by an enthused fan standing to my left and his ecstatic girlfriend. More than once, I had to stop taking photos to grab onto the barricade as tipsy fans pushed as far as they could to reach these five Canadians. And understandably so, as each member of the group was so outgoing, flexing their biceps, flipping drumsticks, and bringing the microphone up close and personal so that fans could add their voice to the mix. And honestly, for my musical tastes, Striker’s brand of traditional heavy metal (with just enough hair thrown in the mix) stood as one of the highlights of my evening, full of anthemic chants (backed up by bassist William Wallace), drum poses by Adam Brown, and crazy guitar solos by both Tim Brown and Chris Segger. If I had to name one band that comes to mind when I think of modern thrash music, Warbringer would certainly make the cut. Touring in support of their latest album, Woe To The Vanquished, which was released earlier this year, the group have decided to play that album in their entirety. And they certainly did, shredding through “Silhouettes,” “Shellfire,” and the 11 minute, 11 second closing track, “When The Guns Fell Silent.” Throughout the performance, vocalist John Kevill carried an almost possessed demeanor, eyes twitching and hands floating through the air, seemingly casting spells upon the audience. His shrill shrieks filled our ears, accompanied by the dual-guitar attack of Adam Carroll and Chase Becker. They closed up with a request from the audience, ripping through our being once more with “Living Weapon” from Worlds Torn Asunder. By the end of this, I had to purchase a patch for my upcoming battle vest. Touring in support of their late-2016 full-length album, Atoma, Dark Tranquillity took to a stage covered in the beautiful blue swirls of that album’s artwork, as well as a visual display, courtesy of an overhead projector. This essentially turned drummer, Anders Jivarp, into a living work of art as the patterns cascaded over his face. Being front and center meant that I benefit from plenty of great shots of vocalist Mikael Stanne, sometimes more than we bargained for, as his face contorted into sinister smiles mere inches from our own. Pulling largely from their recent release, Atoma, with healthy samplings of the previous album, Construct, and Fiction, fans seemed overjoyed at everything thrown at them. I, unfortunately, had to head out about four songs in due to an early morning, giving up my spot to a younger fan, much to his surprise and gratitude. If you have a chance, I’d highly recommend catching this tour as it comes through your area (featuring DT, Warbringer, and Striker only). Do yourself a favor: get that front-and-center spot. You won’t regret it.
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Earlier this year, I had the honor to cover one of my favorite bands, Alter Bridge, at a concert they were playing nearby. When I arrived, the line was wrapped around the block, and that was five minutes after the doors had opened. And this wasn’t an arena show! So, I can only imagine how long the lines must have run outside of the O2 Arena in London when the band came to town. But what occurred outside the arena is not my concern, but rather the events which unfolded inside. I was given the opportunity to listen to the upcoming three-disc (or “that’s a lot of mp3s!” digital) collection entitled “Live At The O2 Arena + Rarities,” out Sept. 8, and I’m here to give you my minimally biased opinion – minimally, since I am a fan of the band. Far be it from me to step on anyone’s toes, but I’m going to start with my least favorite part of this release first and work my way up. And this isn’t “least favorite” in the fanboy-sense of “it just wasn’t long enough!” Rather, there are moments, mainly during some of the heavier tracks, where the production on the guitars comes across rather muddy, or perhaps Mr. Tremonti simply lays into the wah pedal a hair too generously. This is quite noticeable in “Metalingus,” which was released as one of the promotional singles for this album. Luckily, however, this is neither a continuous nor frequent issue, and hardly takes anything away from the overall experience. So let us broach the great and the grand now, shall we? The meat and potatoes of this collection is the two-disc live release. For those of you who are die-hard fans, you have probably already pre-ordered this album, or are sure to do so unless I say the most egregious of things. However, for those of you who have never listened to Alter Bridge and are looking for a pooling of some of their best songs, I’d say this is a great way to jump in. While most of the tunes come from the newest studio album, The Last Hero, there is a healthy dose of the previous LP, Fortress, and their sophomore release, Blackbird. The latter even sees the appearance of its title track, weighing in at nine minutes flat and standing out to me as one of the finest moments of the whole collection with its overwhelming emotionality. Also approaching the top of my list, is Myles Kennedy’s solo guitar rendition of “Watch Over You,” featuring a fully-animated audience taking control of the vocals for a portion of the song. And after all, audience-participation is the ultimate point of a concert, isn’t it? “…I had no f*#!ing idea it was going to end up here,” admits Kennedy, in the 30 minute documentary which comes with the Earbook edition (limited to 1000 copies), beautifully put together by Sturge Media in association with Napalm Records. He is referring, of course, to the band’s exponential growth into an arena act over its 13 year career. And it’s wonderful to have such a video included, interviewing not only the band, but members of their road crew as well. From lyrical direction, to guitar masterclasses, to fan meet and greets, it bounds about and does a nice job showcasing the human element behind the culmination of over a decade’s worth of music. Speaking of culminations, I can’t forget that we’re also treated to a whole album’s worth of rarities. Perhaps most interesting to hardcore fans will be two songs which have been unreleased up to now, “Cruel Sun” and “Solace,” both of which were recorded during sessions for the debut, One Day Remains. The other nine tracks have found their way onto special editions of each studio album released thus far, but it’s nice to see them brought together here for those who might have missed them the first time around. I honestly hadn’t realized that “Zero” and “Home” from ABIII were bonus tracks, as I’ve been wearing that disc out for years and can’t imagine the record without them. The rest of the tracks are new to me, and it’s been a welcome occasion to get better acquainted with them. Thinking back to my own live-in-concert Alter Bridge experience, I can’t help but smile as I listen to these songs. Myles, Mark, Brian Marshall, and Scott Phillips aren’t just “musicians’ musicians” – to quote their drum tech, Shane Hall – they’re also great songwriters. And the greatness of the songs isn’t simply a melodic twist, a crazy solo, or a wicked bassline (though those certainly help), but how each of these things coalesce with meaningful lyrics which resonate with their fans. And for them, the live show isn’t about getting smashed and slamming into one another, though mosh pits have their place, but rather it’s a cathartic experience where their own inner demons dissipate with thousands of like-minded individuals, each unique in their struggles, but bonded by the shared love of these pieces. You may not personally have anything approaching a religious experience when listening to these tracks, but take the time to check out the songs, absorb the lyrics, and perhaps you’ll understand the enjoyment and connection that an entire arena in London shared on Nov. 26, 2016. Pre-order Live At The O2 Arena + Rarities at: iTunes | Amazon | From The Band For more on Alter Bridge, visit: Official Website YouTube In the village of Frankenmuth, Michigan, just North of Detroit, four young men calling themselves Greta Van Fleet are re-imagining the British Invasion. Not in the sense of Paul Revere (or Sybil Ludington, if you’d prefer), but the British Invasion of the 1960s, which saw Englishmen re-imagining American blues in their own ways. Wouldn’t it be fun, they thought, if it were re-imagined once more, reinvigorating the sounds they love with the youth of modern day? These three brothers – two of them twins – and their best friend are sending chills through those that hear them, rocketing up to #1 on the iTunes American and Canadian Rock Chart with their 4-song debut EP, Black Smoke Rising, and already selling out most of the dates on their upcoming headlining tour. The name Greta Van Fleet, in honor of a Frankenmuth town elder, is just one of the unique aspects of this quartet. While they bring a sound which has roots firmly planted in a half-century long passed, it is far from a throwback. These musicians bring their individual personalities to the table, harnessing a vast array of inspirations, from the Motown-enthused bassist all the way to the World Music-loving vocalist. As the influences swirl together, they form a style that is familiar, but fresh. I will not have been the first to liken their sound to early Zeppelin, and front man Josh Kiszka’s voice bears a striking resemblance to that of Robert Plant’s, to the point of the two occasionally being indistinguishable. This is especially evident during an emotion-filled cry at the peak of Jake Kiszka’s guitar solo in “Safari Song,” and still again as the opening lines of “Flower Power” cascade through the speakers. Yet, by the time the EP arrives at its final track, it’s very clear that these young men are brewing up their own creations, not attempting to resell music of days-gone-by. If I had to single out one song as my favorite, it would be that final, self-titled track, Black Smoke Rising, for the very reason that it sounds the newest. Greta Van Fleet is a collection of young men with old souls. Though two are barely old enough to vote, and the other two barely old enough to drink, they’ve grown wise on the records their parents shared with them, filling up on Cream, The Who, and Elvis. The music they play is neither overly complex, nor is it underplayed, and their lyrics are warm, if not at times inspiring. Anyone who can listen to this bunch and not be moved in some way, my condolences go to their family. By all means, pick up this short sample of their material. And if you’d like to do yourself one better, try to see them on tour. Black Smoke Rising is but an appetizer of what Greta Van Fleet has in store, and they can’t wait to share it with you. Buy Black Smoke Rising at: iTunes | Amazon Catch them on tour near you, right now! For more on Greta Van Fleet, visit: Official Website YouTube Sweat was beginning to trickle down the side of a brow. Anxiety…nervousness…it was apparent in the eyes of all those who gathered ‘round. Time was running out. Suddenly appearing – as if apparating into existence – a man hoisting a tray of tacos and quesadillas. Rapture coated those previously dread-filled eyes, as We Love The Underground dug into its pre-concert meal, voraciousness overtaking their anxiousness. “It’s 8:25!” one exclaimed. “What!?” exclaimed guitarist, Eric McCullough, scrambling for his phone to discover it was merely 8:10, a decent 20 minutes until they were all set to take the stage. His narrowing eyes pierced his fellow guitarist, Patrick Sise, who had initiated the panic, before all involved burst into a chuckle. A light ribbing of one another seems to be the norm amongst these partners in crime. With tacos eaten and quesadillas quite finished, we hurtled out of the restaurant near Baltimore Soundstage, sprinting across the street between herds of cars and rushed in the doors. Now, I’ve had the pleasure of seeing We Love The Underground perform quite a bit throughout the years, ever since attending their second-ever concert together at The Circuit in Essex, MD back in 2014. They’ve come quite a long way since then, and each set has seen them grow exponentially in both talent and ambition. August 17 was no exception, with vocalist Brad Cox belting out high notes and the group debuting a brand new song entitled “Sevens,” along with plenty of older fan-favorites. Despite being an opening band that night, you could see the delight upon the faces of those in attendance, and quite a few people rushed forward to shake the band members’ hands following the closing notes of their half-hour set. Needless to say, if you’re given the chance, don’t miss this great act. And make sure to get those tacos to-go. Click here for the full photo gallery! For more on We Love The Underground, visit: Official Website | Facebook | Twitter | YouTube | iTunes | Novels A night of entirely instrumental acts? If you’ve read some of my previous reviews on instrumental music (there aren’t many), you understand that I went into this concert with some reservations. The list of instrumental metal albums which I love from start to finish can probably be counted off on one hand. However, with the powerhouse line-up of ex-Megadeth/Cacophony guitarist, Marty Friedman, returning to his hometown of Baltimore; Chris Letchford-led Scale The Summit; and The Fine Constant, founded by Sarah Longfield, I decided the chance was one worth taking. Click here for the full photo gallery! I was well aware of all of these bands prior to this, though I had rarely if ever dabbled in their work. The Fine Constant was the most recent of these three that I had come to know, built upon the incredible talent of Sarah’s guitar wizardry. Joining her on stage were drummer, Steve Meyer, and recent touring addition of fellow guitarist, Dave Dunsire. Only slightly surprising, there was no bass player, but with each playing 8-string guitars, the lower register was taken care of without any reason to notice. The two blazed through complex tunes, trading lead melodies while the other rumbled riffs underneath. By the end of their short set, the crowd was screaming for any more music that they could convince this trio to dish out, but unfortunately for those adamant fans, the show had to transition. Scale The Summit’s name first appeared on my radar during the days of MySpace. I was quite impressed by Chris Letchford’s ease of the instrument. He and the other two members of his trio did not disappoint on August 6, at Baltimore Soundstage. The bassist, Kilian Duarte, in particular, was quite expressive. I’ll let the photos below demonstrate my point. As of the writing, you can purchase 5 of their albums digitally for only $29.25, as well as picked up their new album, In A World Of Fear, for only $5 digitally. Marty Friedman’s tenure in Megadeth saw some of my favorite releases from one of my favorite bands. His guitar playing has always been transcendent, whether it was alongside Mustaine, or in Cacophony with the amazing Jason Becker. Thus it is to my detriment that I have yet to explore his solo material. But from my crash course prior to the show, and the stunning demonstration I received upon arrival, I can tell you he has certainly not lost his touch. The amount of energy erupting from the stage was built not only upon the strength of the music, coated lightly with Rust In Peace-era Megadeth instrumentals, but also upon the extraordinary talent of his fellow musicians. Perhaps more impressive to me than any other artist that night was bassist, Kiyoshi Manii, who seemed to epitomize energy for the entire hour and a half the group commanded the stage. Do yourself a favor and catch these three amazing bands as they currently tour the US on the “Wall Of Sound Tour,” and pick up Friedman’s newest solo album, released August 4, which shares the same name. Loincloths and oily chests. That is what I imagine when I hear the name Manowar. It is a name I’ve heard throughout the years, drawing up these images and others with a backdrop of 80s metal anthems. But I’d never heard a note of their music, nor was I necessarily sure that I should. I can hear the Manowarriors screaming “KILL!” as I type this. But I’ve since had this issue rectified by a night filled with the trvest of metal in the form of the world’s first feminist Manowar tribute band, Womanowar! I hear groans from those machismo-males among you, but if I were you, I’d put away my judgment before experiencing the unbridled ferocity of vocalist and frontwoman, Erica Madams, or the sensual emanations of guitarist Josh the Posh and bassist Jesse DeMayonnaise. And I can all but forget about Dewey Hamsick, who smacks the skins as though he has nitroglycerin running through his veins (or perhaps just too much Jack Daniels). Still, you might notice a few things are different with your favorite songs, and I don’t mean the riding crop that Madams will be stroking down your cheek as she commands you to remove your clothes for her pleasure. Womanowar appropriates all the masculine ideas within Manowar songs and alters them to place women at the top of the hierarchy. “Kings Of Metal” becomes “Queens Of Metal” and…well, I think you get the idea. But before you begin your chants of “KILL!” again, I suggest you see them live. Next thing you know, you might be chanting “HAIL!” Click here for the full photo gallery! Drenching wet, save for my camera, I stood dripping under the canopy of the Pier Six Pavilion in Baltimore. Umbrella or not, blocks of walking through the streets overflowing with water had left me and my fellow concert-goers far from dry. Our victory: standing in the presence of one another, and soon, of some stellar musicians under the safety of the awning overhead. Tonight would be one of metal, for we were about to embark upon a journey led by Behemoth, Lamb Of God, and Slayer. Click here for the full photo gallery! I had heard great things regarding The Satanist, the newest album from Polish metal band, Behemoth, and thus was excited to experience them trial by fire. Though I dabbled in a few songs prior to the show, I was largely approaching their music with virgin ears. Not only did I not burst into flames, but I was stunned by the sheer power exuded by these blood-coated individuals on stage. Nergal, the frontman of the group, roared out lyrics and waved an incense burner to properly acclimate the crowd, while low-ender, Orion, and lead guitarist, Seth, gave off devilish smiles and riffed out one dissonant chord after the next. Drummer, Jon Rice, filling in for regular percussionist, Inferno, pounded out one song after another, and I certainly had no complaints. The Richmond, VA-based groove metalers, Lamb Of God, are the one act who played on July 28 which I probably knew best, especially considering I had reviewed their last full-length release, VII: Sturm und Drang. However, despite my love of their music, I had yet to see them in concert. I was not disappointed! Drawing most of their material from Sacrament, followed by the aforementioned album, the quintet launched through ten of their most recognized songs, even teasing a few seconds of Slayer’s “Raining Blood.” Throughout, vocalist Randy Blythe hurled himself through the air, belting out his signature guttural tones, while the Adler brothers, along with Mark Morton and John Campbell, created a sonic wall of destruction. They closed their 50 minute set out with the rhythmically infectious “Redneck,” and it was clear that the crowd would have loved an hour more. As part of thrash metal’s Big Four, alongside Metallica, Megadeth, and Anthrax, Slayer helped pioneer American thrash metal in the early 1980s. When I tried to induct myself into the leagues of Slayer fans years ago (when I first became a fan of Metallica and Megadeth), I didn’t see the appeal. However, with time my tastes has fluctuated, and upon listening to albums like Show No Mercy, Hell Awaits, and Reign In Blood recently, I’ve found that immersing myself in their music is greatly welcomed. And they were ever bit as intense as I imagined, ripping through an hour and a half of music at breakneck speeds, with guitarists Kerry King and Gary Holt alternating through blistering solos. Towards the end, someone attempted to yell at frontman and bassist, Tom Araya, between songs. Tom, unable to hear what the fan was saying, began moving his lips silently in reply. I couldn’t see the fan from my vantage point, but it seems someone thought a middle-finger was in order, which saw Araya smiling with the release of a few birds of his own. Next thing you know, the entire audience was waving middle-fingers in the air. As a metal fan, I greatly enjoyed this show, and I would have been sorely disappointed had I missed it. While I was still far from dry by the time the last song rolled around, it was time well-spent, and you’d do well not to deprive yourself of the experience. “Are you going to the Testament show on April 24?” a friend asked me casually. “I wouldn’t miss it,” I replied. And what reason could I have to not come out to see such a stellar line-up, featuring not only Testament, but supporting bands, Sepultura and Prong. Each of these groups have released albums that I’ve cherished as part of my music collection, and I certainly wasn’t going to skip a chance at enjoying those songs live. Despite some miscommunication that delayed my entry to Ram’s Head Live in Baltimore until after the opening band had come and gone, I entered to provide you with these photos. Click here for the full photo gallery! An Italian musician and friend, Max Usai of Confrontational, turned me on to a number of bands years ago, including Prong, Sepultura, and Sadus (whose bassist, Steve DiGiorgio, now plays with Testament). I thank him a great deal for sharing his musical joys with me and allowing me to make them my own. I’ve enjoyed Tommy Victor and each incarnation of Prong that I’ve heard through the years, and he and the boys were kind enough to come out swinging last Monday. Though only a three-piece, Tommy ripped on the guitar, backed up nicely by Mike Longworth on bass, and Art Cruz, whose energy erupted from behind the drumset. And while only having time for a six-song set, they made the most of it, unleashing several tracks from their new album, X (No Absolutes), then digging back into their catalog for a few classic tunes from Prove You Wrong and Cleansing. The set ended with “Snap Your Fingers, Snap Your Neck,” and chants from fans continued for Prong even as roadies took apart the equipment. I remember walking through a record store in the outskirts of Dallas, TX years ago and taking home a treasure trove of heavy metal albums. Two of those albums were Sepultura’s Chaos A.D. and Roots. The Brazilian metaller’s style of music has evolved throughout the years, beginning with thrash and diverging into more groove-oriented metal when they reached the two aforementioned works. Now, as the band tours behind its newest release, Machine Messiah, they are rousing audiences with a large collection of songs going all the way back to 1989’s “Beneath The Remains,” but focusing heavily on the new material. They did a great job of keeping the crowd engaged, as fists jutted into the air in time with the rhythm of the drums (with vocalist Derrick Green joining drummer Eloy Casagrande at one point on a separate snare). Bassist Paulo Jr. kept the songs tight with Eloy (who was an absolute beast behind the kit), while guitarist Andreas Kisser sank into his riffs, to the joy of those in attendance. They ended with a 1-2-3 punch of “Refuse/Resist,” “Ratamahatta,” and “Roots Bloody Roots,” which lead the crowd into a frenzy of thrashing delight. Finally, the band at the top of the docket. Testament has been celebrating the 30th Anniversary of the release of their debut album, The Legacy, which appeared in 1987. That being said, the majority of their set isn’t pulled from that album, but rather their latest release, Brotherhood Of The Snake. But they did state that they were trying to change up the setlist they usually play on this tour, and dug down for some tracks that may not get as much love as they should. Thus, fans heard songs that ranged over nine different releases from throughout the group’s career, and were ecstatic at them all. Perhaps the most unusual part of their set was not the song choices, but rather the inclusion of a solo performance by every member of the ensemble. The exception, of course, was vocalist Chuck Billy, but the rest of them took to their instruments in the most impressive of ways. Bassist Steve DiGiorgio finished his solo by flowing directly into “Urotsukidôji,” joined by the rest of the cast, which served as something of an extended solo performance for those involved. What particularly stands out in my mind, however, is the band’s song called “Into The Pit,” which resulted in a lot of moshing and quite a few crowd surfers. If I recall correctly, this venue had signs up threatening expulsion if crowd surfing occurred, but dedicated fans ignored those warnings as they floated blissfully over a sea of hands and into the waiting arms of security guards…who immediately let them right back out into the thick of it. I had so much fun at this show, and I’m sure you will too. The musicians are all very humbled to have such a warm welcome, and pour their souls into the performances. You will not be disappointed. My wife and I rarely miss a Carbon Leaf show that comes our way. In fact, I could find you at least four previous concert reviews I’ve done for their shows, but I’ll settle for one. Needless to say, they’re an awesome act, full of warm personalities and funny moments. But I’ve never had the pleasure to try my hand at giving them the full-on concert photography treatment, so it seemed like a no-brainer when I heard they were playing down the street from me at Baltimore Soundstage. Here’s my review and picture gallery of that evening, April 15, which saw the band joined by a new trio, Me And My Brother. Click here for the full photo gallery! “Grammatically incorrect and not actually related” states the little black and white info card I picked up from Me And My Brother’s merch stand. And so it is, three solo artists [Carl Anderson / Schuyler Fisk / Sam Wilson] who happened to be touring alongside one another last Fall found themselves pulled together by an overwhelming bond. It’s quite impressive that they’ve written a good deal of songs together in the short time since. The modest group stood before us and laid out largely acoustic, folksy tunes (with a little electric inflection courtesy of Wilson), even joined by Carbon Leaf’s resident mandolin player, Carter Gravatt, and drummer Kurt Leon for two separate songs. As of yet, the group hasn’t released an album of their unified efforts, but I purchased Carl Anderson’s solo album, Risk Of Loss, which possessed an air that reminded me vaguely of Warren Zevon (though dialed back on the L.A. cynicism). While the trio was laid back and reminded me of sitting on the porch with family on a warm Summer’s evening, songs like “Champagne and Reefer” gave me cause to pause and chuckle. It’s been a long time since I’ve been to a Carbon Leaf show in which I wasn’t seated at a table enjoying dinner and a nice drink. While those holiday shows are always special and dear to me, the energy displayed last Saturday gave way to an entirely different atmosphere. One difference was a disco ball which ricocheted rays across the crowd and band in a stunning display of dancing starlight. Every song could have been confused for a sing-along, as the audience knew these tunes by heart. Old favorites like “What About Everything?” and “One Prairie Outpost” from Indian Summer are obvious, but even the intimate one-mic rendition of “Two Aging Truckers,” from the more recent Constellation Prize, received the audience’s choral treatment. And the laughter of the band was infectious and spread throughout the night, such as the moment when vocalist Barry Privett disappeared for a few seconds and guitarist Terry Clark sneakily entered the center-stage spotlight for his newfound role as lead singer. Privett returned the favor, as you can see below, by rocking out with some very sweet air guitar. As the band left the stage at the end of the night, chants of “One more song!” emerged from the crowd. Not long afterwards, Privett returned once more, jumping off the front of the stage and planting himself alongside the concert-goers, joining in their chant. He quickly became unhappy with the lack of the band’s response, and began booing the others. The crowd erupted in laughter, and a smile slipped across his face, climbing back onto stage for the closing track, “Let Your Troubles Roll By.” After the show, the band made their way to the merch table, talking and signing things for fans until it was closing time. I can only imagine how many conversations they accumulated amongst themselves before the night was over. But every fan who stuck around was a happy camper, and I assure you, you will be too if you have the chance to catch this fine group of men in concert. Before I even knew their name, I found myself dumbfounded and adoring that Vancouver threesome known as Ninjaspy. By mere happenstance, I witnessed them in concert and reveled at the tumultuous exhibition. Here were three men, producing a monstrous sound, hurtling around the stage like crash test dummies. I was sure of some horrible collision. Yet, despite the energy that exploded from the stage, each man was in full control of the situation and his own musical prowess. At the end of that concert, I went home and bought every piece of music the group had yet released. To my delight, a new album is on the horizon for Ninjaspy: Spüken becomes available April 14. Ninjaspy self-describe as “three blood brothers in a hook-laden metal fusion fist fight to the death,” and honestly, that’s not too far off. When the word ‘fusion’ gets thrown around, it’s not always clear what is meant. Most bands I know take fusion to mean possessing an element of jazz in their playing, and I can certainly think of at least one moment on this disc featuring a lounge-jazz respite. However, given their back-catalog, as well as their live show, that fusion seems to more predominantly feature metal mixed with reggae! An odd combination, to be sure, as metal is often viewed as technical and exact, while reggae brings to mind a laid-back attitude and a certain level of looseness. But Ninjaspy combine these two elements surprisingly well, keeping the listener fully engaged with this merger within their songs. Spüken is Ninjaspy’s second full-length release, but third overall, coming after their debut, Pi Nature [LP, 2007], and later No Kata [EP, 2013]. It’s been quite a wait for their hungry fans, but this has given the group time to dial in the ten songs featured on this album to their liking. The opening track, and lead single, “Speak,” is a great characterization of the rest of the album. It can be loud and boisterous, but it has no issue backing down to allow the dynamics of low and high to truly shine. And of course, all the songs feature an underbelly of groove for good measure. I’m sure some of you are worried about exactly how much metal there is in this metal-reggae fusion. Rest assured, Spüken leans for the most part into the metal spectrum, which just a touch of the other thrown in for flair. In fact, it dials back the reggae significantly from what was witnessed on former releases, a little to my disappointment, as I felt some of the excursions from the metal realm could have been pressed a little further before returning to the brutality. I’ve really enjoyed the time I’ve spent with this release thus far. So many of the songs have a special little something that makes them stick in my mind, whether it is the endless and circular lick from “Brother Man,” the funk-filled “Jump Ya Bones,” or the ethereal-turned-energetic “Azaria” (also available in an acoustic version). Perhaps my favorite song in terms of sheer contrast and dynamics is “What!!,” a track that begins so seriously and erupts into one of the kookiest choruses I’ve ever had the pleasure of hearing. While I’d highly recommend starting with Pi Nature and working your way forward to Spüken, simply to make sure you don’t miss out on treasures like “Hit By A Cement Mixer,” “Out Of Tampons,” and “Skaingkh (The Skank),” you honestly can’t go wrong here. Spüken is a metal powerhouse, carefully crafted and expertly executed, quite unlike any reggae-infused album you’ve heard before. For more on Ninjaspy, visit: Official Website YouTube Bandcamp CDBaby |
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