OVERKILL - SCORCHED

Forty years, twenty albums, rotten to the core, the mean green killing machine from the Jersey underground and below are back to scorch 2023. They never stopped. Original members and songwriter's DD Verni and his distinctive bass sound and Bobby Blitz with his equally unique voice still joined (over twenty years) by the two-guitar team of Dave Linsk and Derek Tailer, second album with Jason Bittner on drums.

Scorched is everything fans would want from Overkill, but the playbook is not a copy from the ‘80s, or the modern ‘90s/2000s groove era. Ironbound kicked off the 2010's with a reinvigorated approach to thrash, remembering who they are from the ‘80s, utilizing the contemporary progression found in the post 2010 albums, while finding new ways to be creative. Like title track album opener, guitar notes, drums and bass come together building an energy before launching into the attack and mid-tempo verse. Something Overkill are good for. But then things get faster, and back to another rhythmic change with frantic guitar leads. Pre-solo slows down and the solo section even gets a little prog. An arrangement of surprises, and damn are those drums busy (love the big sound), all without losing the melody and chorus.



"Goin Home" again not a thrash riff to start that settles in the rhythm pocket right into the hook, catchy. First single "The Surgeon" a tried-and-true banger that let's everyone know Overkill still is the real deal wrecking crew. Great power and swift gallop to barn burner "Twist Of The Wick", a punchy romp to "Wicked Place" that allows room for Blitz's vocal lines to land and melodic guitar accent

HIRAX - RAGING VIOLENCE / HATE, FEAR, AND POWER

 

First two Hirax albums initially released on Metal Blade records in 1985 and ‘86, getting the remastered treatment for CD and vinyl in 2023. Singer Katon W. De Pena is the remaining original member of the Cali based thrashers since their inception in ‘84. To date they have issued three more albums with different lineups, several singles and EPs. Before I start talking about each album, many forget, or don't know, that Hirax were there too at the birth of thrash metal in Los Angeles and San Francisco playing the clubs with peers Metallica, Exodus, and Slayer. But Hirax were a bit different, fast and furious but brasher and unfocused, chaotic, not as song based like Metallica, or satanic like Slayer Show No Mercy, savage like Exodus Bonded By Blood.

Another major difference the songs were shorter, under three minutes, some barely over a minute, quick bursts of hectic aggression. Plus, Katon's shrill vocal tone and delivery also set them apart, giving Hirax that, as they were called, crossover (thrash) appeal to punk rock fans and skaters, like Suicidal Tendencies at that time, and other west coast bands D.R.I. and Cryptic Slaughter.

Longest song on Raging Violence, "Demons - Evil Forces" at 3:21, contains one of the best opening lyrics in all heavy metal history, "You, you will go down, down to the demons and when you get there, you'll... you'll be down in Hell". This length gives the song time to be a complete song, part slower tempo, riff directed (with solo) that does include a couple changes, unlike others from the fourteen tracks. "Blitzkrieg Air Attack" at two minutes puts its feet in the ground and doesn't move from the straight forward pounding drums and riff. Aside from the opening riffing, "Guardian Protector" also suffers from sameness at a minute and a half. But they manage to fit in a solo. Opening guitars to "Bombs Of Death" could have been on Slayer's Show No Mercy. Drums are all over the place on the title track, but there are moments everyone comes together.

STRATOSPHERE PROJECT Entrevista

 

O Stratosphere Project, é um projeto de Power Metal do talentoso músico multi-instrumentista Flávio Brandão, formado em 2019. Para quem é fã de bandas como Helloween, Stratovarius, Masterplan, entre outras, irá se identificar muito.

Parte do EP Lifestealing Years, essa é uma composição de 1997, resgatada da antiga banda de Brandão, chamada LifeStrealing, do underground carioca nos anos 1990, e foi escrita ao lado de Igor Thurler e Alan Saint’Clair. Agora, “Immortal Eyes” chega com um novo arranjo e uma regravação do zero para entrar no universo do Stratosphere Project.




1)Como surgiu a idea de fazer o projeto stratosphere.

O Stratosphere Project surgiu como uma forma de voltar a música é colocar minhas ideias de músicas para as pessoas ouvirem. Eu toquei power metal nos anos 90 e início dos anos 2000 no underground carioca com o Lifestealing (powermetal) e com o Delta S (Rock Nacional). Tive que abandonar a música por questões familiares por volta de 2003. Em 2017 eu voltei a tocar guitarra e voltei já com essa ideia de criar uma banda/projeto em que eu pudesse expressar todas as minhas ideias. Então em dezembro 2019 eu iniciei as composições até meados de junho de 2020 (no início da pandemia) e lancei o primeiro álbum “Strarosphere” em agosto daquele ano.

2) Stratosphere tem diversas referencias de bandas do metal melodico ,Quais são suas influencias

Eu sempre ouvi muito Helloween, muito Rhapsody, muito Stratovarius, muito Angra e Royal Hunt. Muito além do power metal eu sempre ouvi muito outra subgêneros do metal. Eu tenho uma nostalgia muito boa do power metal dos anos 90 e 2000. O final da década de 90 e início dos anos 2000 com grandes bandas surgindo foi muito marcante pra mim.
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3)Confesso que nunca havia ouvido falar sobre você como musico na cena do metal brasileiro ,como
foi sua trajetoria como musico .Eu comecei tocar instrumentos aos 15 anos. Naquela época e com a situação financeira da minha família eu não tinha como pagar um curso de violão ou até mesmo comprar uma guitarra/violão/baixo. Peguei um violão que minha tia tinha emprestado por um tempo enquanto fui fazendo uns trabalhos aqui e ali até conseguir comprar um baixo e tirar cópias de umas revistas com técnicas e exercícios que alguns amigos tinham. Passava também procurando alguns vizinhos que sabiam tocar alguma coisa para perguntar como fazer um acorde ou uma escala. Eram tempos difíceis! Pouco mais de 1 anos depois eu comecei a estudar guitarra após um amigo meu (Dinho Fernandes) me vender uma guitarra que ele achou em um lixo de uma igreja lá perto de casa. Já naquela época eu sonhava em conseguir tocar aquelas músicas legais do Malmsteen e do Timmo Tolkki entre outros grandes nomes. Consegui comprar a guitarra por um valor que hoje seria de uns 30 reais e comecei a estudar feito louco! Não tinha amp, não tinha pedal, só um cabo improvisado em um radio stereo que quando a guitarra era conectada no microfone distorcia. Após isso ingressei no Lifestealing usando equipamento emprestado e começamos a criar músicas (pode ouvi-las no meu EP Lifestealing Years) e começamos a tocar no underground Carioca junto com nomes como Endless, Imago Mortis, Alegro, Firewalker entre outros!

 

4)As musicas lembram muitas vezes Rhapsody of fire principalmente sobre as partes de orquestras.
Suas composições são feitas de forma espontanea ou voce já tem uma referencia de como soar no stratosphere.

Eu tenho sim muita influência de Rhapsody e sempre que posso, faço uma orquestração aqui e ali. O Stratosphere tem a própria identidade apesar das referências. Eu faço músicas com orquestrações como Twilight Storm e ao mesmo tempo tenho músicas mais diretas como Depersonalization, Stratosphere e Silver Line. E muito além dessa variação, ter vozes diferentes faz também com que o ouvinte se identifique melhor com cada música como se fosse algo totalmente novo sem perder a noção de unidade do projeto.

5)Você possui um home studio ,e grava tudo sozinho. A bateria é eletrônica? E quanto tempo voce passa nas gravações?

Eu gravo sim tudo sozinho menos a parte vocal. Uma exceção a essa regra é o coral em Soldiers of Eternity onde eu gravei 32 vozes. Quanto a bateria, eu gosto de dizer que meu baterista é uma “máquina”. Em média cada gravação pode durar entre 5 e 20 horas, as vezes mais, as vezes menos. Gravar não é tão difícil quanto mixar e masterizar, que é onde eu realmente gasto boa parte do tempo de produção.

6)Eu ouvi algumas musicas do projeto ,tais como silver line,me lembrou avantasia,a anos
não vejo nenhuma banda que tenha trazido nada de novo dentro do metal melodico ,todas soam da mesma forma ,o que isso e bom e o que e ruim para uma banda ou projeto.

Eu sou da opinião que time que está ganhando se mexe! Eu sempre estou ouvindo bandas novas e algumas inclusive de power metal moderno! Eu sou muito chato com isso, eu não sou fã de afinação baixa, de riffs “percursionados” (djent). O que poderia ser adicionado ao powermetal hoje em dia que já não foi adicionado anteriormente? Mais música brasileira? Angra já fez com louvor! Música clássica? Já fizeram! Samba? Já fizeram! Jazz? Já fizeram! Existe uma questão importante aqui, pra onde o power metal pode ir para se tornar inovador? Eu raramente vejo alguém questionando uma banda de metal extremo sobre inovação, mas metal extremo não é só sobre técnica mas também sobre atitude e posicionamento. Acho que o ideal é você fazer seu som e tentar divulgar para o maior número de pessoas e ter o seu público.


7) O Brasil e uma fabrica de novas bandas. Vimos a poucos meses a desintegração do Shaman (que havia voltado) devido a questões politicas. Mas a propria politica não ajuda o metal no brasil, e diversas bandas lutam por questoes que meramente entendem ,o Stratosphere project , procura se reter dessas questões e focar somente na musica , devido ao estilo praticado pela banda.

Eu acredito que é muito mais uma questão de respeito ao próximo. Nós como artistas temos que respeitar nossos fãs e nosso colegas de banda. O Stratosphere Project é sobre metal, ouvir

10)ficamos honrados de falar com voce ,o espaço e seu deixe um recado aos fãs da banda..

A princípio, sem meus ouvintes e amigos o Stratosphere Project não seria nada além de um cara tocando todos os instrumentos e produzindo músicas sozinho. Acredito que estou trilhando o bom caminho para quem gosta das minhas músicas. Apesar de não ter uma banda para tocar ao vivo por aí, eu continuo fazendo o trabalho pelo estúdio e pela internet sempre focando em trazer novidades ao meu público. Então só tenho a agradecer a todos que me apoiam direta e indiretamente, seja gravando comigo, me passando feedbacks, me ajudando com as redes sociais (Mary) ou engajando nas redes sociais. Dada as limitações do projeto, cada interação é uma renovação da vontade de continuar! Pode parecer pouco, um like, um comentário, uma mensagem falando que gostou das músicas, tudo isso conta muito! Apoiem seus artistas preferidos, comprem merchan de quem tiver pra vender, apoie os perfis das redes sociais, interaja, se faça presente! O metal nacional depende de vocês ouvintes!

https://www.stratosphereproject.com.br/pt

DECIBEL METAL & BEER FEST 2023 - DARK & HEAVY: ONSTAGE & ON TAP

Apart from the (separate admission) traditional minded pre-show, the two-day, main event was focused on hammering and/or getting hammered. Unlike years past, there was no repast, a "something different" intermezzo, to cleanse the palette/ears, just a steady diet of high octane pummeling. Housed at the Fillmore complex, in Philly's Fishtown entertainment neighborhood, there's about 12 hardcore breweries, in attendance every year (many having a product tie-in with one or more of the performing bands). Another half dozen, rotating establishments, come from far and wide. This year's most traveled entity was Denver based TRVE Brewing (although Tampa's Magnanimous also came a long way), surely a leftover from last December, when Decibel moved the west coast edition from LA, to Colorado.

So 4 PM Friday... sneak out of work early and start the weekend by heading to the beer fest. That's when doors opened and the pours started (for those purchasing the "Beer" ticket, which allows unlimited 3 oz. samples, as opposed to the "Metal" ticket, which is $100 less expensive and solely provids admission to the show). First band on wasn't until 4:30, so plenty of time to wander about and check out the wares, before it gets too crowded. Unlike years past, there weren't a lot of "odd" choices in the sea of IPAs. No habanero, no smoke, no coffee, strange fruits or chocolate brownie sundae flavors. What makes one IPA different than the next? So what differentiates one, to possibly purchase it, in the future? Availability? Chances are, I'm never going to find most of these beverages again (short of an expensive mail order), so being able to pick up a six-pack, locally, is important.

Other ways to create a story, so the buyer remembers your brew, when browsing the aisles, is to have a cute/funny name and/or memorable packaging. Speaking of which, it was interesting to see how some of the participants marketed themselves, onsite. Some came with colorful, pre-printed signage, touting the aspects of their various products. Some had free swag to draw people in and others merely had a hastily, hand-written Sharpie on cardboard after thought. Guess all the details go into making beer, not advertising.

Arrived as Phobophilic were blasting away onstage. Once again, beer vendors were upstairs, accessible only to those with the magic wristband. Cramped and, at times, difficult to maneuver between those waiting in line, people talking and those staring into their phones, engrossed in filling their online beer profiles with new entries. Add alcohol and the situation could get worse. Many head straight for the high octane fuel (ABV near or over double digits), but as the night progresses, the early rush subsides, as the musical entertainment draws more attention. Shockingly, by 7 PM, one of the vendors had closed up shop, run dry of the day's entire stock!

So first up was Dust & Stone Volume 2, a dry hopped 5% Pilsner, by Empress Rising. Bright yellow in color, yet clear, it had a crisp hoppy taste. King's County Brewers Collective (KCBC) has been to the last few events, always interesting stuff. Tried their Rise From The Grave, which is a collaboration with fellow New Yorkers, Undeath (who'd be onstage in about an hour). A smooth, despite 6.2% Maibock Lager. Speaking of band projects, the Tampa brewery partnered with Worm (who were playing next), on Shadowside, a 7% Helles Bock. Frothy, even though I was served the last pour out of the can, with a hint of hops. So what about the band?











An intriguing mix of screamed vocals, then shredding guitar, then pounding slowness, from a group with dark circles under the eyes, dressed in robes. Long instrumental stretches are shattered by ravenous shouts. That alone wouldn't separate them from countless others, but Worm seek to employ a bit of showmanship in their black metal spectacle. Initially, the spike adorned vocalist knelt, reverentially displaying a sword and chalice, and then placing them upon a makeshift altar. Later, he'd drink blood from the chalice. The guitars loop and dive, like an acrobatic stunt pilot. Altar boy school run amuck, towards the end, a virgin in white satin is laid upon the altar and defiled by the frontman. Definitely not run of the mill antics! Appreciate the extra effort.

Another pleasant surprise was finding Illinois based Wake Brewing's Strange Creature, a 5.2% Hefeweizen, an atypical style for these events. Drank plenty of it in Germany and glad to see Wake didn't gum it up with grapefruit, honey or anything else Americans are want to do. Just played it straight, like in Deutschland. Next up, a so-called Premium American Lager from Cosmic Eye (NE). At 4.8% Dead Man's Run had about as much legs as the name implies. Basically tasteless (especially in comparison to what was offered at the surrounding stalls), see little reason to drink it, much like most mass produced American products. Better results with Indiana based 3 Floyds' Phantom Blade, which is the official beer of the festival, a 5.5% Pilsner.

The intermission music piped in between the first two bands had been hip hop. Someone got the message, as it switched to classic Manowar ("Hail & Kill") the next break. Broken Goblet (PA) called their Eisen Brew a "juicy Kolsch" (5.2%). Nothing fruity, but it was refreshing, a nice alternative to the hopped up attractions. Visually, Undeath would appear to be a hardcore outfit, but no, they dispense death metal. The lead singer demanded that he see "bodies on bodies. I want this to be the death metal Peewee's Playhouse." Fans oblige with a ferocious pit. Later, they'd unveil a new song, "Brandish The Blade".

If you can have table wine, why not a table beer? Bone Up (MA) answers the question with 4.8% Extra Naked, one of the lowest alcohol concentrations of the fest. Not as bland as the name implies. Local kingpins Yards, debuted a new Hazy Citrus IPA, called Bit Viper (6.5%). It has a tie-in to an online, old-school style, video game (accessible via QR code). It was one of the day's highlights. Sort of tart, has a candy flavor, like jellybeans. Need to be a little weary of the higher content, if indulging all day, but certainly a pleasing palette washer, especially at events like this. Found myself returning to Bit Viper throughout the festival.

Having been part of the BraveWords team for nearly 30 years, need to honor Triumph by sampling something called Blinding Light Show, courtesy of War Pigs Brewing (IN): 7% IPA, using orange and lemon peels, but retaining none of the citrus taste. Couple of hours into Friday and the upstairs area has thinned. Are people slowing down (their intake) or is the flight of stairs too big an obstacle to navigated before receiving your "rewards"? On the main floor, there's an increased presence of collectibles vendors: t-shirts (not just from the performers), jewelry, vinyl, spilling into each room.

Certainly won't end up in oblivion, sticking by Widowmaker's 5% Vienna Lager, Return To Oblivion. Brownish in color, more akin to whiskey, it's a safe, all-day choice. Much like similar beers, what distinguishes one death metal band from another and how does the rather generic Dallas, Texas based Frozen Soul get selected to play this event? Guess someone on the selection committee is enamored with the album and the call goes out. Different strokes, for different folks. Rather demanding frontman, announcing, "I need to see you... I want..." Apparently he forgot, YOU are the (supposed) entertainer.

Regardless of name, Trve Brewing's Kellerpils Lager did not leave me Cold. 4.9%, it's clear and colorless, looking more like gin or vodka. Victory (PA) had Brotherly Love, a robust tasting Hazy IPA (6%). Porter and stouts are not my usual poison (much more of a hefe, lager, pilsner guy), but this opportunity affords some taste-testing outside one's boundaries. Dark Messenger, is a Vanilla Porter, from Magnanimous. It was the idea of vanilla, cutting the taste that tempted me. Unfortunately (for me), could still taste the roasted/coffee flavor (another "brew" I don't ever indulge in), albeit with less porter bite, despite 6% price tag. Would have better luck, in terms of vanilla, with Pennsy based Animated Brewing's rather mundanely entitled Supertouch. Excellent 7.2% Vanilla IPA, was another of the weekend's standouts.

"Child Of Night" is from Trve and is not only a collaboration with The Black Dahlia Murder, but the lightly colored 8.5% Pale Ale donates a portion of sales to suicide prevention (Dahlia singer Trevor Strnad succumbed to his demons last year). At 7.2%, Frozen Fresh Hop IPA is sneaky: smooth taste (not too hoppy) and produced in small batches, available at the Philly headquarters. 7:30 PM and lots of folks leaning on the handrails, going up & down the stairs.

Widowmaker (MA) also had a Czech Dark Lager (5.1%). Obscura, as the name implies, is in conjunction with Gorguts. Consistency akin to a porter, but without the (bitter) taste. Downstairs, there's a mass exodus after each act. Just 15 minutes to changeover for the next band (until the final two sets), so fans need to get a drink, order food or visit the restroom/vendors.

Mizmor is spelled out in an assortment of indecipherable runes. The performance (calling it "music" defies traditional concepts of the word. These are not "songs" in any conventional sense) was just as mysterious. "We are here to make you sad," announced the vocalist/guitarist prior to any noises emanating from the stage. Loads of reverb and feedback as a dissonant wall of sound sporadically surges forth. Punishing slow, intermittent chords meet off kilter screams, caterwauls and strangled vocals. Someone describes them as "not music for a sunny summer day (as it was), but rather a dismal, snowed in, winter blizzard.” True, definitely not a "festival" band, more like a theater of the mind/ears, for investigation, alone in the dark (probably under headphones). With Decibel, we've gone down the wormhole at the extreme end of the metallic spectrum. Have the feeling that most of the photos accompanying this story will not see the light of day, elsewhere.

After that, Venomous Villains, from KCBC seemed appropriate. That name should strike a chord with metalhead drinkers. Some vendors rotate their stock Friday vs. Saturday. Others just serve the same things, all weekend long. In the case of this 6.9% West Coast IPA, it was only available the first night. Four hours in, still standing (literally, no places to really sit down. Not that I need it.) And still haven't broken the WC seal either. War Pig's Foggy Geezer is an 8.5% Hazy IPA, having exhausted most of the lower fueled options. Then came Widowmaker's Blue Comet, an opaque, frothy 7.1% New England IPA. Be lying if I said I could distinguish between them.

Time for Gorguts. Actually, people been waiting 6 years (since their last show). Even better, this was billed as a set featuring elusively Obscura and Considered Dead material. Guess that's why people came down from Quebec (but also ran into people from all around the USA). Grabbed one of Broken Goblet's leftover Doom Lager (the 5% Schwarzbier collaboration with Candlemass, from last year) and head to the photo pit. Lots of people vacated the upstairs, a few vendors even shutting down for the night. Given what's come before, this straight ahead death metal is literally, music to the ears. Opening with "Rottenatomy", there's lots of gray hair onstage (that's OK with me), but guitarist/singer/mainstay Luc Lemay was also sporting eyeglasses. Amazing how their brand of technical death, so groundbreaking in the Nineties, is now, more or less, commonplace. "Inoculated Life" gets a call-out from Lemay, as did "Nostalgia", which he sent out to the headliners. He repeatedly thanks the crowd and is genuinely touched by the outpouring of support (don't think it will be six more years for the next show), ultimately ending with a storming rendition of "Obscura".

For some, the night was over. For others, just more beers to sample, before the rejuvenated Black Dahlia Murder (by far the most prevalent t-shirts of the day, some in memoriam of late singer Strnad). Having played just a handful of shows since the tragedy, for many, it would be their initial chance to see the band, now fronted by former guitarist Brian Eschbach. Tart cherry ZOMBIES (5.5%), by KCBC feels like a smoothie, but did nothing to change my opinion of sours/Gose. Only offered Friday, hope they bring something better on Saturday. Bone Up, in tandem with Fuming Mouth (who played the next day) concocted Master Of Extremity. Nothing out of the ordinary with this brownish, 5.5% West Coast Pale Ale.

Clawing At The Casket Lid (great metallic beer moniker) is a Broken Goblet attempt at an Irish Dry Stout (4.8%), complete with roasted taste. Animated's only other selection, their partnership with Drowningman (also on Saturday's bill), is a 5% IPA, a play on one of their songs, called It Will End In Hops. Hazy complexion, it's true to its word, with a kicking mouthful of hops. More IPA action, thanks to Tunnel Of Trees (7%) from Trve Brewing (available solely on Friday) and Magnanimous' opaque, pale yellow Juice Lord (7.5% Hazy). The latter looks more like breakfast juice, with a citrus aftertaste popping up a split second after the India Pale Ale. Surprise! Then there was 3 Floyds Zombie Ice (can't get Ghost out of my mind, despite no actual connection between the two), an 8.5% Double Pale Ale. Massive head on a 3 oz. pour!

Not sure which side of the barricade saw more movement, the pin-wheeling hair Black Dahlia guys, or their waves of crowd surfing, circle pitting fans. Green lit "Verminous" opens, fan voices greet Eschbach, who raises his arms in appreciation of the support. Either side of the stage, guitarist stands, one foot atop the monitors. Surprising that something this heavy is so widely accepted. "Sunless Empire" has less frenetic, albeit heavier pounding, with tasty, traditional minded guitar solo. When he wants the crowd to shout along, Brian says, "Philadelphia, let's hear some brotherly love." Lots of greens and blues, but also sweeps of piercing, high intensity white lights. Pre-recorded intro leads to the initial black metal spiraling of "Carbonized In Cruciform" Asking the crowd to show their muscles, prior to "Statutory Ape", a frenzied, headband wearing, primate mascot bounds onstage. Maybe it was knowing the evening was coming to an end, but even the "Deathmask Divine" finale saw a constant flow of bodies over the barricade. And not one-by-one, as security would like, but multiples, from various points in the crowd, keeping the guards on their toes.

And we get to do this all over again, tomorrow!

DAY 2
Overnight, each of the brewer's garrisons have their arsenal re-stocked. So let the battle commence. Actually, it's more like a siege, slowly draining them of their supplies, or a quest, seeking out an enjoyable quaff that will still be tasty some six or seven hours later. Whatever's selected, it shouldn't hinder the ability to stand (not sit) for that time period, as I engage in conversations, repeatedly trek up and down flights of stairs and not impede the photography (insufficient lighting already compromises that, in some instances).

Speaking of which, moving forward, perhaps Decibel should contemplate forgoing the rental of the full lighting rig. Seems most bands only want to use reds (which washes out photo details) and/or deep blues. However, the LD for Esculea Grind, first band of the day, threatened to break the control panel, repeatedly flicking ALL the buttons/switches so fast, it looked like a full blown Iron Maiden display. Katerina Economou was enamored with the size of the stage and made numerous thank-yous, so they're definitely used to "roughing it." Onstage, she jumped around like some gruff throated aerobics instructor, the Texas twang addressing early arrivals at the barrier as "Y'all." She asked the fans to headbang for "All Is Forgiven" (what no circle pit? Wall of death? Actually that would come later). "Cliff Hanger" preceded a change of lanes, to death metal, for "Ball & Chain". They definitely enjoyed their time onstage, even if they had to drop the last song.

Not really a fan of sours, saisons or Imperial stouts, many of the second day replacement options. So only a handful of new tastes and then stick with the winners from yesterday. Amazing how different some beers taste on an empty stomach, as opposed to after having already partaken in a smorgasbord. Three beers stood head & shoulders above the rest, so spent the remainder of my time, alternating between the trios. No Gold, silver and bronze. More like 1A, 1B and 1C.

Practically raised on German metal festivals, it should come as no surprise that Hefeweizen is my draft of choice, overseas. Outdoors, in the summer sun, can't be a tankard of heavy beer. Short of imports from the homeland, rare to find a good domestic hefe. That's why Wake's Strange Creatures (in collaboration with Esculea Grind) was my favorite (until they ran out. Or maybe they just told me the well ran dry, because they were tired of seeing me?). Regardless of shortages, still made frequent stops at the corner co-occupied by Yards and Animated Brewing.

Completely different marketing strategies, but both proved effective in luring me in. Animated had just a couple of logo t-shirts laying on an otherwise barren table. One can of their two options stood in the center of the table. Meanwhile, Yards had the most signage and, at times, four guys working the booth (OK, they're literally located up the street). Each outfit had an easy drinking, all-day option that will make frequent visits to my home refrigerator, assuming I can locate it. There's a bit of a creamsicle taste in Animated's Supertouch Vanilla IPA, which keeps it from being harsh, despite weighing in at 7.2%. Likewise, there's a hint of lemon in Yard's Bit Viper, a 6.5% Hazy IPA, another refreshing option in the hot summer months.

Fuming Mouth started 15 minutes late, due to visible technical issues onstage. With young bands (nervous?) who only occasionally play live and might not have the best equipment (chords, connectors, pedals, etc.), there should be plenty of stage hands onstage, to alleviate the problems as quickly as possible and preserve as much of the time slot as they can. The two guitar foursome dished out some gruff, barked early Swedish style death (under solely red light. Does you no favors, guys.), but only got to play about four songs. Trve Brewing had the most shake-ups in their line-up, completely reinventing the day-to-day offerings, including Bloodaxe, a supposed Nordic Farmhouse Ale (7%). Slightly cloudy and light in color, it had a sour touch. Conversely, their IPA, called Eclipse Of The Dual Moon possessed a bold dose of hops and floated a significant head. Time to try Empress Rising's other entry, before the next band. Dust & Stone Volume 1 is very cloudy, light yellow English Pale Ale coming in at 5%.

Have been attending Decibel events since '18. Some parts of the roster seem predictable, like certain type of bands MUST appear annually. In the Dillinger (Escape Plan) inspired, jerk around spasmodic stage movements, dissonant chords and a screaming, pacing side-to-side frontman stakes, this year it was Drowningman. Constantly crisscrossing the stage, occasionally dropping to his knees, Simon Brody often sings sideways to the crowd. Amusing anecdote (don't know if it's true); thanked one of the brewers for getting him booze. Apparently he's NOT supposed to drink. Claims that's why he wanted to call the band's beer Cryin' Prison Tears, 'cause that's where it ends. An elaborate intro to "It Will End In Cops". Someone seriously overestimated their draw though, as the floor was 2/3 empty. At one point Brody made mention of starting a circle pit, but saw the audience and revised the idea. At the end, he compared their performance to a geek show, at the circus.

KCBC brought out Gulp Fiction, an 8% double IPA. Opaque, with a frothy head, the hops essence was strong, but not overpowering. Bone Up's collaboration with All Out War (who were up next) is named Caustic Abomination (after a song they'd air tonight). It's a 7.8% Ale with honey and ginger. Big head and opaque, but felt there was a slightly medicinal taste. A similarly sour experience with Trve's Ostara 2023. Against my better judgement, but because "the price is right", and it was only available on Saturday, tried the 7% Mixed Culture Sour. "Sour" is an accurate description. That's not a taste I'm willing to cultivate. Not with all the OTHER beers available.

All Out War are a link between metal (dress the part, including singer Mike Score, in Bathory tee) and hardcore sounds. "After Autumn" and "Condemned To Suffer" stood out, before ending with "Redemption For The Innocent". Strange dynamic upstairs, as the night progresses, people begin to clue in that their opportunities for "free" beer are inversely proportional to the amount of time left. Thus some cling and hammer renewed.

Incantation were one of the early signees to Relapse (Philly label) and mainstay John McEntee lived in the city for a period. Can remember them being part of several Koshik east coast bills, in the Nineties. So this is a bit of a homecoming and about time we got reacquainted. In the absence of people like Chuck Schuldiner, McEntee is truly a grandfather of the American death metal scene, certainly in the Northeast. Decades of playing one bulb clubs, he understands how to properly "light" death metal (and get usable photo ops). Shrouded in a deep blues, purple and occasional flashes of white light, the two guitar quartet churned through the entire '98 release, Diabolical Conquest. Old school death metal: brutal gurgling vocals, a bit raw, but within conventional songs structures.

Was never a fan of EyeHateGod's sludgy look at the downside of life. At Decibel, they performed the entirety of Take As Needed For Pain, under a backdrop of the controversial album art (it's not the original Scorpions Virgin Killer, but in today's society, still touchy).

Last call upstairs! Even though there's one band left, several vendors have already vacated the premises. Suicidal Tendencies were rescheduled to perform their 28 minute eponymous debut, which is more the punk era, than the more metallic later offerings. Sure "Institutionalized" has everyone screaming along (for a Pepsi?) to the rapid fire lyrics and bass thumping "I Saw Your Mommy" is another fun rant, but the rest of the album is not in my ST "greatest hits". So surprise, after a bluesy, band played intro interlude, Mike Muir uncorks "You Can't Bring Me Down" to open the set! The whole band seems to be on skates (boards) as they glide across the stage (and don't run into one another. A major feat). Muir is no Spring Chicken (60 years old), skipping/skanking/jetting around the stage, practically in perpetual motion, stopping only to sing a few lines, then move on. Keeps him young, I guess. The floor was a swirling mass of humanity from the first notes.

BLAZE BAYLEY UNDERGOES SUCCESSFUL TRIPLE BYPASS SURGERY; FORMER IRON MAIDEN FRONTMAN RELEASED FROM HOSPITAL

Former Iron Maiden frontman, Blaze Bayley, suffered a heart attack on Sunday, March 26, and recently underwent triple bypass surgery.

Mark Appleton & Christopher Appleton (management / bookings) have issued the following update via Bayley's Facebook page:

"As with our previous update, we are delighted to say that Blaze's surgery seems to have been a success & we're really happy to report that he is now released from hospital & is at home to continue his recovery.

METALLICA - 72 SEASONS

 

Metallica is a name that has become synonymous with ubiquity, smashing down the cultural and commercial boundaries surrounding metal music, and achieving the status of a universal phenomenon. Through their more than 40 year career they’ve embodied that all too American ideal of chasing one’s dreams and actually catching up with them, going from the gritty venues of the early ‘80s U.S. heavy metal underground to selling out arenas normally reserved for the most prominent of pop stars, to speak nothing for the impressive cumulative Billboard numbers their studio work has garnered since their early 90s breakthrough and eponymous opus dubbed The Black Album. But as the famous quote from the film Conan The Barbarian goes, “Success can test one’s mettle as surely as the strongest adversary”, and even as early as their seminal 1984 sophomore LP Ride The Lightning, there have been grumblings among their core fan base that Metallica’s stylist evolution has been inorganic and touched primarily by overly commercial motivations.

The meteoric rise of any icon naturally comes with an often dramatic and dark back story, and 12th studio album and 77- minute slough 72 Seasons can be best understood as a lyrical confession of vocalist and guitarist James Hetfield. The name itself refers to the seasonal measurement of 18 years, and the 12 songs that unfold from the accompanying subject of a tumultuous youth reflect the sentiments of a man that has seen much and puts forth an impassioned and highly dynamic vocal performance to underscore the fact. Indeed, between that newly rediscovered edge that Hetfield exhibited in 2016’s Hardwired…To Self-Destruct and the heightened vitality that has no doubt come with his recent sobriety; the vocal display that comes along with this album proves to be the most powerful and indicative of classic Metallica since The Black Album made them a household name. One might even go so far as to say that James takes full ownership of this album and all but turns it into a solo effort that may as well bear his own name on the cover.

Yet while the voice at the helm of this extended sonic endeavor brings a highly varied and dynamic element into things that often borders on fan service, the instrumental foundation upon which it stands turns in a more mixed showing. Despite the continual insistence of this quartet of veteran metal trustees that this would be geared towards the seminal ‘80s sound that their fan base has been clamoring for, 72 Seasons often finds itself mired in the malaise of meandering mid-paced jam material that seeped into their songwriting template during their ‘90s days of moonlighting as alternative rock trend-hoppers. It doesn’t manifest so much in a sound that is sloppy and lacking in cohesion or punch, as between the booming quality of Lars’ kit work and the rock-solid wall built by the bass and guitars, the resulting sound is unmistakably metallic. Instead, much of what rounds out this medley of dark and brooding anthems are songs that are built off of repetition and generally rest in mid-tempo land, often arranged in a bare fashion that avoids the rich harmonic, almost symphonic choir of guitars that gave the longer material on Master Of Puppets and …And Justice For All their charm. When combined with a mix that has the cymbals too prominent and the vocals sounding just a tad too distant, the notion that this is a full on return to the glory days becomes difficult to defend.

TWILIGHT FORCE – AT THE HEART OF WINTERVALE

 

Come one, come all to the power metal triumph of Twilight Force’s At The Heart Of Wintervale. The metal warriors delve into their lore of the Twilight Kingdoms with a soundtrack of major chorded anthems, whipping solos, bright keys, and lush orchestral arrangements. This falls right in line with the greats like Rhapsody Of Fire or newer entities like Gloryhammer – although the Force is more earnest in their delivery.

Twilight Force knows exactly what they’re doing and who they are catering too – so for those looking for something heavier and lighter/void on the orchestral elements – you’re definitely not going to enjoy this. Our Twilight heroes do the right thing to not bloat this one out, keeping it a steady paced eight tracks at 45 minutes. Having a tight runtime gives more meaning to the two tracks eclipsing 10 minutes.



Allyson (aka Alessandro Conti of Trick Or Treat) fits like a glove vocally with a prominent presence and effortlessly hits the high notes. He doesn’t strain himself and brings to life these sword-raising anthems. Guitarists Lynd and Aerendir have fun interplay bouncing happy melodies and quick notes between them. Just wish there was some more bite in the rhythm guitars, but our guys want the symphonic instrumentation to stick out.