Ken's Best of 2018

Goes to 11

By Ken Geiger

I'd just like to say thank you to Cooldad for giving me a platform to rant and to plug cool music on. It's always been a pleasure. I'd also like to thank everyone who supported me in my artistic endeavors this year, whether you bought a tape, booked me a show, or even told me you liked my set. That kind of stuff really makes it all worthwhile.

Anyways let's go with the Top 11 Albums of 2018. What a great year for music it was, as this list was goddamn impossible to finalize. If you have not heard any of these releases yet, make sure you go pick them up as soon as you’re finished reading this:

• Nicole Dollanganger, Heart Shaped Box (Crystal Math Music/Eerie Organization)
• Mark Kozelek, Mark Kozelek (Caldo Verde Records)
• Like Weeds, They Grow (Kitty Play Records)
• Nickelus F, Stuck (Trashfuck Records)
• Form Hunter, Form Hunter (New Forces Noise)
• Goth Girl & Torturing Noise, Split (Contradiction Tapes)
• Sleep, The Sciences (Third Man Records)
• Doyheart, Demo (Self-Released)
• Denzel Curry, TA13OO (PH Recordings)
• Maggot Cave, Maggot Cave (Pull Me Dick Mate Records)

Now for the 11 Best Live Acts, which was an equally hard list to make. There were so many great performers I saw all over the world in 2018. However, I decided to go with the ones that really just brought the live experience to a whole other level; something that felt like more than just your average concert:

• Lydia Lunch Retrovirus
• feedtime
• Merzbow
• Full of Hell
• Sleep
• Tommy Wright III
• Despise You
• The Flying Luttenbachers
• Bastard Noise
• Lucas Abela
• Batushka

The last thing I'll leave here is a Spotify playlist for my favorite songs that came out this year. I can only hope that next year will give us as much great music as this year did. Enjoy your New Year, Cooldad faithful! Party responsibly.

Lydia Lunch Retrovirus Invaded Sydney with No Mercy, 6/17/18

Lydia Lunch Retrovirus by Ken Geiger

Spreading the Disease

By Ken Geiger

This is definitely the most immediate reaction I have ever given to a concert in my life. It has been only a couple hours since the Lydia Lunch Retrovirus stepped off the stage at the Oxford Art Factory in Sydney, Australia; and I am still blown away. Lunch, who has been active with music, poetry and acting since the 1970s, has made a career out of pushing buttons with critics and audiences alike. One must wonder whether someone who started such antics in their youth can keep that up over 40 years later. Not only does Lunch manage to continue her antics with a setlist that spans over the entirety of her career, but she also does so in a style that makes these songs feel brand new. 

Now it must be said that such a feat could not be accomplished without the stellar band that is playing her tunes. The all-star cast includes bassist Tim Dahl (Child Abuse), Bob Bert (Sonic Youth & Pussy Galore) and Weasel Walter (The Flying Luttenbachers). Weasel, in my opinion, is the real star of this show. One of the most noticeable things about Lydia Lunch's career is the great guitar players with whom she has surrounded herself; Rowland S. Howard, Nels Cline, and Omar Rodriguez-Lopez are a few that come to mind. Weasel Walter continues this trend in the most energized and mind-bending way possible. Dahl and Bert create a strong enough backbone in the rhythm section that it gives the guitarist free range to go absolutely nuts over these older songs. Add in his frenetic stage energy and Lunch's deadpan jokes about sex, fascism and Australian goths, and you have a top tier performance.



Lydia Lunch has stated many times in the past that she does not want this show to be looked at as a nostalgia trip. She said it again tonight. I do not think anyone who goes to see Retrovirus will be able to even tell that some of these tunes are well over 40 years old. Talk about an older artist showing the new generation how it is done. DO NOT MISS THIS SHOW IF IT COMES TO A CITY NEAR YOU.

Ken Geiger's Album Round-Up

This summary is not available. Please click here to view the post.

Ed Kuepper and The Aints Played Manning Bar in Sydney with feedtime, 3/9/18

Finding the Australian Music Scene, Part 1: Lost and Found

By Ken Geiger

It’s hard for me to write single show reviews at such a pace as other writers on this site do. Part of the reason is my awfully forgetful nature. Another is simply that I have been going to so many shows since arriving here that it is so hard to put into words how unique the music scene is in Sydney. Still, I can attempt to explain it.

Let's start with what some would consider the established acts of Australia, or the "hometown heroes" (not Midnight Oil or Men at Work). On March 9th, I witnessed two legends of Australian underground music grace the stage of The Manning Bar on the University of Sydney campus when Ed Kuepper of The Saints rolled through to rock out with feedtime. My initial interest in the event came out of my love for feedtime, the Australian noise rock band who have been playing on and off from as far back as the late 1970s. Some more notable musicians who have listed the band as an influence over the years include Kurt Cobain, Mark Arm of Mudhoney and Jersey's very own Tim Cronin of The Ribeye Brothers (Tim was the one who actually turned me onto the band).



It's easy to see why the band managed to impact a variety of lives outside of their own home country. Their approach to music is totally alien to anything that was happening around the time of their formation. Bassist Al Larkin's style mixes chugging basslines with slide solos that you just do not see from many four string players anymore. Rick Johnson chooses to play his guitar in open tunings most of the time, rather than opting to play in standard, as most punk bands from their time did. His use of the slide is equally as impressive as Larkin's. Most impressive of all, though, may be drummer Tom Sturm, who gives a whole new meaning to the phrase "physical endurance." His drum setup was barebones, notably lacking the presence of rack toms and any cymbals besides the hi-hat. However, his ability to pound the audience into the ground with simple, driving beats was astounding. 

Despite listening to their records plenty before going to see them, feedtime presented me with a sound that is just so radically different from anything that came before and after it. Larkin explained to me in a brief chat after their set that, "There was just no real musical basis for us to go off of when we first started. We liked the idea of the speed in punk music, but that was really it. We just tried out our own thing and hoped that it worked." Well, mission accomplished. It's damn near impossible to find anything that sounds like this Aussie trio.
 
Ed Kuepper is the founding guitarist of The Saints. The group might be known over in the states for the fact that Springsteen covered their song "Like Fire Would" back in 2014, but that song was written without Kuepper. Before that era of the band, The Saints were ripping up the Australian musical landscape with their own brand of punk rock, a brand that many claim helped to pioneer the genre right alongside acts like The Sex Pistols and The Ramones. But we are not here to discuss The Saints tonight. That band still goes on today in an entirely different lineup. The point here is to embrace that pioneering punk era Kuepper helped to bring about.



His backing band for the evening was appropriately called The Aints. The band ripped through a 20+ song setlist that just made the crowd go insane with every note. The audience was mostly filled with people who had probably spent their youth listening to The Saints, and they all tried to convince me to forget my American knowledge of punk. "This is where punk all began," they cried. "New York didn't have shit on Sydney. No way," chimed in others. I do not think I could bring myself to agree with them on that last statement, but I will give credit where credit is due. Rarely do I care much about an artist's set after seeing it if I did not know them beforehand. The Aints were an exception. I listened to their tunes the whole way back to the train station.
 
This trip has given me some cultural insights I did not think I would end up gaining while here. I continue to attend shows on an almost weekly basis (some of which I even perform at under the KPG name).  Certainly, I am far from being done reporting on the happenings in this country. I have just accumulated too many good stories here to stop after two write-ups. 

Cattle Decapitation Played The Bald Faced Stag in Sydney w/ Psycroptic and Daemon Pyre, 2/16/18

Cattle Decapitation

Contributor Ken Geiger is spending a semester abroad in Sydney, Australia. Ken loves going to shows, and he'll be seeing a few over the next few months abroad. This is his first dispatch from Down Under. All photos by Ken.

Sonic Annihilation in Sydney 

By Ken Geiger

I cannot speak for everyone, but I can imagine that anyone who goes to a concert in another country must have some first-time questions similar to mine:

"Is the headliner as well known over here as they are back in my home country?"

"Are the fans here cool?"

"Will the local openers be any good?"

Needless to say, all of these questions I posed were met with very positive responses as I attended California death metal outfit Cattle Decapitation's Australian Extinction Tour in Sydney this past Friday night.

People here sure do love their dose of heavy metal, which was evident by the clearly over-capacity audience that packed into the Bald Faced Stag. I made my way into the line about 30 minutes after doors, and there was still a line that nearly extended around the block. The fans I talked to on my way in were all beyond excited for the lineup of the evening. They had been patiently waiting several years for the return of Cattle Decapitation to their country. They treated me with respect and kindness, striking up casual conversation and asking about life back home in comparison to Australia. As I found my way into the room where the bands would be playing, I could already feel the temperatures rising. This heat would only continue to rise as the night went on.

The first band of the night was Sydney-based Daemon Pyre. I found out earlier that evening that the band was having a fill-in on vocals for the night, as their regular singer had recently made the decision to leave the band. In fact, they had only done a couple of rehearsals with the singer prior to this show. To me and the rest of those in attendance that night, it did not really matter who was up there singing; Daemon Pyre delivered a fantastic set of blistering melodic death metal. Anyone who is a fan of bands like Lamb of God or At The Gates would love these guys.

Daemon Pyre

Next to go on was Psycroptic, the main support to Cattle Decapitation for the whole length of this tour. Their specialty is in technical death metal, with a tinge of hardcore in there for good measure. I would soon find out from these guys that it did not matter whether or not I knew who they were, because every Australian in the crowd certainly did. All the words were sung by the crowd. Moshing went down for every song, and people were trying to rush past the security outside just to catch these guys. It was the truest representation that I could think of for the metal scene out in Sydney.

Psycroptic

Psycroptic

Last but not least was the mighty Cattle Decapitation. This band has come a long way from its early grindcore roots as a Locust side project to turn into the death metal institution that they are known as today. Most of their set was comprised of a mix of their last two releases, The Anthropocene Extinction and Monolith of Inhumanity, which made for an amazing and blistering set that just spanned a little over an hour. Singer Travis Ryan noted multiple times how he was sorry they did not make it over here sooner but was happy they finally made it all. The crowd clearly agreed with him as they ate up every song and riff with ferocious singalongs or wild applause.

Cattle Decapitation

Cattle Decapitation

If I were Cattle D., I would make sure to come back here first on their next album cycle because, damn, do these Aussies love their metal.

Ken Geiger's 2017 Recap

Ken enjoying The Dillinger Escape Plan

In a Nutshell

By Ken Geiger

[CoolDad Note: In a year when I really needed it, our great contributors stepped up to fill in some of what would have been some long, empty spaces here. Ken did some great work and expanded our coverage to places -- important places if you're talking about independent, underground music -- it had never been, and I can't thank him or our other contributors enough.]

2017 was a great year for music, in my opinion. I have continued to expand the almighty KPG empire to places I never thought were possible. So many shows, a short tour and many new friends along the way; hopefully that trend can continue in 2018. I want to thank anybody who helped me attain that success.

Lastly, I just wanted to thank Jim for another year of letting me conduct interviews and ramble on about music that I love. He has been a huge supporter of me writing for his site since the beginning. I truly believe that the power of music is greater than any of us can imagine. Whether it is meeting someone new at a live show or talking about albums online with people halfway across the world, music continues to help me bridge new connections in this strange world. The fact that I am able to write about my interests and have people react to them positively is great. I am keeping in short this time -- no long explanations for each album or live band. If you want those, you can personally message me. Everything is up to interpretation in this world!

11 BEST ALBUMS (because 10 is NOT enough)

Full Of Hell- Trumpeting Ecstasy
Melvins- A Walk with Love & Death
Run the Jewels- Run the Jewels 3
Pissed Jeans- Why Love Now
Queens of the Stone Age- Villains
Godflesh- Post Self
Father John Misty- Pure Comedy
Aaron Dilloway- The Gag File
Nine Inch Nails- Add Violence [EP]
Melkbelly- Nothing Valley
Jesu & Sun Kil Moon- 30 Seconds to the Decline of Planet Earth

11 BEST LIVE ACTS

Melvins
The Dillinger Escape Plan (night 2 of their 3 final show run, specifically)
Amenra
Aaron Dilloway
Full Of Hell
Limbs Bin
The Jesus Lizard
Pinback
Sun Kil Moon
Run The Jewels
Nick Cave & The Bad Seeds

If your 2017 sucked, check out some of these things. There is still time for you to look back on the year fondly!

Interview: Ken Geiger Sits Down Again with Full Of Hell's Spencer Hazard

Photo: Nick Lacuna

21st Birthday Celebration

By Ken Geiger

How does one celebrate their 21st birthday? I feel like the stories I have heard involve drinking lethal amounts of alcohol at the bars. Did I end up doing the same thing? Unsurprisingly, I did not. Instead, I went to go catch the wild behemoth that is Full of Hell live at the Highline Ballroom, playing alongside Cattle Decapitation, Revocation, and Artificial Brain. While I enjoy some of those bands a great deal, none of them could quite match the live intensity that the Ocean City, Maryland grindcore outfit brings every single time they step on a stage.

I cannot say that I instantly was head over heels for this band either when I first heard them. It took some intense listening sessions to realize that they were not just your average grind or powerviolence band that is setting out to write nothing but a minute and a half of riffs and call it a song. Full of Hell are setting trends that I feel many new underground bands aspire to incorporate into their own aesthetic: great merchandise, frequent collaborations with other artists, and an embrace for noise music that not everyone is brave enough to accept. It is truly something else that excites me to no end.

I managed to catch up with the band's guitarist, Spencer Hazard, on this night in the city to figure out more about Full of Hell than I already knew. What makes this band work their asses off so much? Can anyone define their sound? Is Buffalo Wild Wings still worth eating at? The man himself answers it all below.

K: Ken S: Spencer

K: How has the tour been so far?

S: It's been great so far. I think each band has collectively said this is one of the biggest tours they've been on, especially us. The turnout is good, reception to our music is great, and I feel like we're playing to new crowds.

K: What made you pick the songs you've been playing?

S: So it's mostly just Trumpeting Ecstasy stuff. Last time we toured with the Cavalera Brothers, the record wasn't released yet. So we definitely wanted to give people more of the newer songs.

K: How did you get Limbs Bin to play noise with you guys for this tour? What do you think he adds to your live sound?

S: He did merch for us on our tour with Entombed A.D. earlier this year, and on the way back from that tour, he did opening sets for us. So, when it came time to do this tour, we kind of thought "why don't we try to just do a collab set this time?" It's progressed slowly over the course of the tour. We're adding drum machine at some points in the set, some trash percussion here and there.

K: Do you think any recorded stuff can come out of this collaboration?

S: Oh, definitely. We wanted him to be on Trumpeting, but it never panned out. We felt that maybe the record would have been a little bloated if we added some of his elements to what was already there. When we write this next one, though, we will keep in mind some ideas that he has and put them in there.

K: Moving onto the new record, it sounds like all the songs flow so well into each other. Were those songs recorded individually, or done in one long marathon run?

S: With this record, every song was written individually. Some songs were written like forever ago, while others were written right up to the day we began recording. We wanted the record to feel natural, but it wasn't written or recorded to serve as one big piece. There were just some noise interludes to kind of make some songs flow better together.

K: How did it feel to work with so many big names in metal? You got to work with Aaron Turner, Kurt Ballou, Nate Newton to name a few. Are those guys fans?

S: It's a surreal feeling. I mean with Aaron Turner, we all grew up being huge fans of Hydra Head Records (the label that Turner runs). That was the label of the generation Dylan and I come from. But since both us and Sumac (Turner's latest band) were on Profound Lore at the time, we just decided to call and ask him if he wanted to do it. It turned out he was a huge fan.

As for Nate, we had played with Converge in Europe; so the connection was there already. Overall, though, I feel like we have become peers with these groups we looked up to when we were younger. It's no longer just little kids being like "oh, can you guys please be on our record?" It's a friendly collaboration thing.

K: Speaking in the vein of collaboration, how did it feel to feud with Santos from Old Man Gloom on Facebook?

S: Well isn't that top honor if you want to be an internet troll?

K: (laughs) That is true.  Anyways, are there leftover songs from the Trumpeting recording sessions?

S: There might be riffs, but I can't exactly remember. I do remember, though, that when we were writing for the record, there were songs meant for the split we did with Nails that originally going to be on Trumpeting, and vice versa. I think, if those songs were on the album though, instead of the split, it would have given it a whole different feel.

K: In general, I feel like Full of Hell is one of the bands that never stops working. I see clips online. You went back to the studio before this tour. A second collaboration with The Body is being sold at the merch table now. Where does this drive to keep working at such an insane pace come from?

S: I mean, I feel as though if you're a musician, why wouldn't you want to keep writing new music and trying new things? That's kind of the end goal of being a musician. We love to be interactive with our art. Even with t-shirt designs, we like to help design them or choose the artists who make our designs. Being hands-on with our band is integral to me. If I'm not writing or touring, I go crazy.

K: Compared to some of your other outputs recently, Trumpeting Ecstasy is not overly experimental. Rather, it's more death metal and straightforward. Was it a conscious decision to write more in that vein? The way I see it, Full of Hell kind of feels like it has become a world where you guys suck in other musicians to work with you. Do you think that the band has a defined sound anymore, and is it what we got on Trumpeting?

S: As with Trumpeting, we wanted to go with more straightforward. The last few releases with The Body and [legendary Japanese noise artist] Merzbow were so experimental, so we just said, "We haven't done something that has defined our own sound in a while." We have been working with other people to try and get a sound. So we wanted to write the record to show more of our own personal characteristics.

I feel as though with our music, it isn't really a collective. We just like to work with other people in a way that pushes our own boundaries, but not let the collaborations define us. I don't like to pigeon-hole our sound. We are massively influenced by bands like Swans, Bastard Noise, and Godflesh. All of whom try and push themselves sonically. That's my biggest thing as a musician. I want to push our music and be as creative as possible.

K: I see the Swans influence, although you have yet to push the 30-minute song threshold yet.  Maybe one day.

S: (laughs) Yeah, one can dream.

K: Moving onto your band's future, though… Full of Hell and The Body are set to release Ascending a Mountain of Heavy. Last time we spoke, you said your previous collaboration, One Day You Will Ache Like I Ache, was not written before entering the studio. Did that writing style change this time around? Did you try anything new in the studio, or are you just comfortable with what you guys do together by now?

S: We tried new stuff. Definitely nothing was written before the studio. We just wanted to try different things with different sounds and drum beats. You can tell that on the record, which is sonically diverse. The record is so different from the other one though, that we want to see how the public reacts to it. There are a lot more harsh elements and experimentation. We feel like One Day is just so sonically crushing, but felt that Ascending could push that sound even further.

K: Now with just Full of Hell itself, is there any other new music coming out? Possibly a new collaboration you could hint at?

S: We have one split written and recorded that's due out next year, but beyond that, we are probably going to just take a little break.

K: You guys deserve it. But before we end this, I need to ask: Why did you betray Buffalo Wild Wings?

S: The last few times I've gone, the food has been subpar in comparison to when I used to go, when it would be a completely magical experience. Now it's become a mundane, boring, every day restaurant experience. Until they gain my trust, I will not be going back.

K: And do you think Family Guy sold out?

S: They jumped the shark when Brian died.

Full of Hell's new record, Trumpeting Ecstasy, is now out on Profound Lore Records.

Additionally, they will be releasing a new collaboration with The Body, entitled Ascending a Mountain of Heavy Light, on November 17th through Thrill Jockey Records.

Interview: Ken Geiger Chats with Portland, Oregon-based Band, Drunk Dad, About Their Latest

Feelings Party

By Ken Geiger

Noise rock. The term sounds broad enough, right? There could be a million things going off in your mind right now that could be considered noise rock: The Melvins, Unsane, The Jesus Lizard… All different sounding bands who fit under the noise rock tag. If there is so much diversity of sound among those forefathers of the genre from way back when, why is there very little that is unique about the noise rock bands popping up now? I feel like with most noise rock bands that come out in the modern age, you can easily tell who their influences are. While it is great sometimes when bands wear their influences on their sleeves, it fails to help grow and develop the genre they reside in. There must be bands out there in the noise rock world who try to push the envelope of this label, right?

Enter Drunk Dad. This Portland, Oregon-based group delivers an extremely frantic and punishing form of noise rock that I have never come across in my prior musical experiences. You can never quite tell where the songs on Feelings Party are going to end up; or, sometimes, if you are even listening to the same song you were when you started. I found this record to be extremely refreshing to come across during a few weeks where I have felt like nothing interesting has come out at all. I just could not believe this insane band was virtually an unknown name, even in underground circles. I knew I had to learn more about them; so I reached out to the band to figure out some answers about just what Drunk Dad is, and what their musical adventure holds for the people who dare to listen.

K= Ken DD= Drunk Dad

K: Could you give a brief history of Drunk Dad? Who were some of the influences you had in your early beginnings?

DD: Drunk Dad started in 2010 with a different rhythm section than we have now. In 2011, we recruited Jose De Lara to play guitar; and, in 2012, Joseph Naylor jumped in on drums. We went through a few bass players; and, eventually, Jose started handling the low end. We had a noise guy named REDNECK that would tour and record with us for a while, but around 2015 we started writing as a three piece and have kept it that way.

In the beginning, I was just trying to write a newer, shittier KARP song. To date, it hasn't worked.

K: How is the scene around Portland where you guys are from? Did it have any influence on your sound, whether it be from other bands or just your surroundings in day to day life there? A band that sounds like this is certainly not one I'd associate with the current hipster world of Portland.

DD: Portland, and the northwest in general, has been a huge influence on what we do. We really wanted to be a band that was in the tradition of groups like The Wipers and Melvins and Mudhoney. You know, obscure and completely inaccessible. Portland used to be a really wonderful place for musicians. We come from a more weirdo, aggressive kind of music scene that Portland wasn't known for. Our kind of city is rainy and dreary and depressed. We missed the whole Portlandia buzz.

K: The new record. I love it. When did recording for it start? How would you approach the songwriting on it? Who were some influences this go-round? It seems to just be constantly on the fringe of falling apart with each song. It really grips me as a listener. It seems like it's supposed to come off like that?

DD: The last tracks were the first ones recorded. We did those st Sharkbite studios down in Oakland while on tour in 2014. They were engineered by Scott Evans from Kowloon Walled City. The other songs were recorded by Jose and our good friend Andrew Grosse at Caravan recording in Portland. We are pretty consistent with our songwriting. We always try to push our own boundaries which can end up with us writing parts it takes a while to really nail. So that sound of the wheels coming off is us trying to keep our shit together! From our earlier stuff, we've gotten tighter and faster; but we always try to push it. That's what keeps us making music. We can always play a part heavier or faster or harder.

K: Do you have any plans to play out live in support of this record? If so, do you think the songs will translate well in the live setting?

DD: We've been playing some of these songs live for close to three years, so they're pretty tight live. Our whole point of putting these songs out is so we could clean the closet and start writing new ones.

K: Looking into the future, does Drunk Dad have any long term plans coming? Are you considering new stuff yet, or will the band hibernate for a little?

DD: Our long term plans involve touring, writing, and recording; but, you know, on our own schedule. We've been a band for a while, so we've learned the value of being patient and letting things happen. I think our work schedule is a good part hibernation. We've tried to sprint the marathon before, and it always ends with getting burnt out. We're in it for the long haul, so there's no rush. We're doing just fine.

Feelings Party is now over at Drunk Dad's Bandcamp.

Review / Interview: Dale Crover, The Fickle Finger of Fate, 2017

Who Said the Drummer Can’t Write a Song?

By Ken Geiger

Many of us were taught in life that too much work can be bad for your well-being. I guess that piece of advice fell on deaf ears for Dale Crover, as evidenced by his 30+ year tenure as the drummer in experimental metal establishment, the Melvins. But, while being able to pound out some of the heaviest and weirdest beats for that long is impressive, listeners have not been able to experience Dale Crover in songwriter form. There was the Dale Crover EP the Melvins put out in the early 90s that he wrote all the music for; but, outside of that, King Buzzo handles just about all the songwriting duties for the group. Still, there was something about that EP that left many fans thinking, "I wonder what it would sound like if Dale made a full album?"

It may have taken him 25 years, but Dale Crover has finally given those left wanting more something in the form of his proper solo debut, The Fickle Finger of Fate; and, oh boy, can this drummer certainly write a catchy tune.

Ranging from 20-second interlude pieces on the more absurd side, to laid back acoustic guitar work and even doses of prog-rock, The Fickle Finger of Fate is a great record that can be enjoyed by more than just Melvins diehards. It has a great sense of variety to it that is honestly refreshing to have in a more straightforward rock record nowadays. I think that if you are into more power pop / hard rock like Ty Segall, Cheap Trick, or Queen, then this record is for you. Dale (and Melvins bassist Stephen McDonald for a brief moment) was certainly eager to impart some information to me on the record, as well some Melvins related topics, when the band rolled around to the Stone Pony on August 5th in an interview that you can read below:


K = Ken D = Dale Crover S = Stephen McDonald

K: I'll just start by asking: is this the first time that the Melvins, or anything you've been involved in, have played New Jersey?

D: No, no.  We’ve played here before actually.

K: Any good bands or memories from the area that you can tell about?

D: I remember when we first came here, we played this place [Stone Pony], and this [the dressing room] certainly wasn't here (laughs). Actually, none of that outside [Stone Pony Summerstage] was here.  It was a ghost town. The only thing that was here was the Stone Pony. You also didn't wanna go out at night… or in the day time for that matter.
 
K: (laughs)

D: We pulled up, and there was this big square with all these parking meters -- but no cars. We just thought 'man this is weird.'  Then we found out about the history of what happened here in the 70s. This was all in the 90s when this happened. I know we also played the bowling alley [Asbury Lanes] in 1990, and then the last time we came here was in '97 with Tool at this huge place by the arcade [Convention Hall].

K: So you guys have a bit of a past around here. Do you enjoy it here?

D: (shrugs) It's certainly a lot more different than when we first came here.  For people who may not understand, it was like what Detroit is now, but with a beach resort (laughs).

K: Do you have any warmup that you do before you go out for a show?

D: I'll just do a stretch. Maybe a little diddle on the drumsticks.

K: (laughs) So anyways, new Melvins album: this one blew me away upon first listen, definitely one of my favorites from you.

D: Oh, cool. Thanks man.

K: One thing I noticed that has started back to the War Pussy EP you put out on AmRep, your first thing with Stephen McDonald, is that you guys are starting to lean into a more psychedelic rock sound. Although, it is impossible to pigeonhole you guys to one sound.

D: Okay, that's fair. Well I don’t know if you're aware or not of the fact that Stephen is in Redd Kross.

K: I am a fan of their Neurotica album.

D: Yeah, well that album is kind of like psychedelic pop.  We liked it when it first came out.  Then, when he joined us, we just told him to go crazy. He doesn't use a lot of effects in Redd Kross.

K: (laughs) I saw you guys on Thursday at Irving Plaza, and I can't say I would have ever been able to picture Lysol live with bass solos over it.

D: And how does it sound?

K: Sounds great.

D: (laughs) Okay, good!

K: So how does Stephen's presence in the band affect songwriting?  \Are a lot of the songs already made by Buzz [Osbourne, singer/guitarist of the Melvins], or did you guys sit down together?

D: Well, all the stuff on the record was done by Buzz and I first. Then we just kind of handed it to Stephen for him to do whatever over. It might have been at a time where he had his hands full with other stuff. He produces records, he plays with OFF! and Redd Kross and a bunch of family stuff. So, we went and did the rehearsing stuff first as a duo. Then he has a studio where he can just go and work his own parts out. I think it's great, because he really went in and fine-tuned a bunch of stuff. I really like the first song off the record.  He worked on that.

K: I was gonna ask you what your favorite song off the record was…

D: Favorite song?  I don't know, but that was a good start. I like the drums. They're not very powerhouse.

K: They're loud when they need to be loud, and soft when they need to be soft.

D: Yeah, it's sort of darker -- maybe not darker -- more moody, I would say. But there's also some rocking songs on there.

K: Certainly! But, transitioning from the Death record to the Love record, I noticed that Love reminded me of another great record of yours: Colossus of Destiny. What instruments were used to make Love? Did any of them appear on Colossus?
 
D: Definitely. Colossus was like me playing synthesizer and drums. Everybody was making a large racket more or less, but we've always said there was a whole plan to the performance. I think the same thing can be said about the Love record too, except that's a studio record, rather than a live record. There's all kinds of shit on there. We have a lot of toys in the studio to play with. There's a lot of field recordings on there. I know I recorded a whole bunch of stuff on my iPhone.

K: Just going for walks on the town, I suppose?

D: I think it was more of stuff I purposely recorded. It wasn't always an instrument necessarily, but instead, a moment of what was happening at the time. It's great. Stephen did some stuff with that. Buzz did a whole lot of stuff. Even Toshi [Kasai, the main sound engineer for the Melvins] did too. There was a bunch of stuff that Buzz and Toshi did separately that was in the vein of Throbbing Gristle that ended up on there.

K: So between the soundtrack and an actual Melvins album, which style of music is easier to record for you?
 
D: The soundtrack took longer to compose. It wasn't worked on any less than the songs were, certainly. What's easier though? I don't know. It's hard to say. We work hard at both things.

K: That hard work definitely comes out in your music. Moving on, though, the next thing I want to talk about are the [KISS-inspired] solo albums you did in the 90s. They’re 25 this year!

D: Wow, I didn’t know that.

K: Hard to believe it’s been so long… So I know you guys were reissuing these through Boner Records, but who came up with the idea of having Tom Hazelmyer [owner of Amphetamine Reptile Records] make art editions of these?

D: Probably Buzz. But, we have been doing a lot of reimagining of our old artwork with Tom. Last year, we did the Atlantic records (Houdini, Stoner Witch and Stag) through Third Man Records. We ended up buying a few of them from the label, and then Tom made art editions.
 
K: I love Tom's art, and actually, with his help, you guys finally completed the series of four! Stephen over there (points to Stephen, who had just entered the room) finally joined in. I love his now. I just picked it up the other day.

D: Yeah, it's great. Awesome.

K: I just wanted to ask about Stephen’s EP. Was his music made specifically for this EP?

D: Well, why don't you ask the man himself (waves Stephen over)?

S: What are we talking about?

D: We're talking about your new solo record!

K: I had a few questions about it.

S: Did you even hear it?

K: Yeah! I bought it at the Irving Plaza show.

S: I haven't even heard it (laughs).  Does it sound ok?
 
K: Well, it sounds great. I especially love the Sparks cover.

D: I did drums on that, actually.

S: Dale did drums on the entire record.

K: I actually was going to ask whether the other guys were involved at all…

S: Yeah, there aren't any credits on it, but Dale played drums on everything. Buzz plays guitar on "What Did I Ever Do to You?"  Josh Klinghoffer from the [Red Hot] Chili Peppers plays the guitar solo on the Sparks cover.

K: Whoa, really?

S: We played in Sparks together for a couple years. So, it was like a fun thing for us to do. The original Sparks version was produced by the Pet Shop Boys, so it had that kind of 80s new wave vibe.
 
K: Before I did my research, I thought you wrote that song.

S: Well Sparks didn't get credit on it. I'm a little embarrassed, honestly! I wanna give it to them, but then they'll be like, "Why isn’t our name on this?"

D: Why is that?

S: Tom never asked for credits. I told him to let me know when he needed credits, and he just never came around to it.

D: Well, it is hard to carve all that (note: Hazelmeyer's artwork is done in linocut style).

K: What kind of timeframe did you have to make those songs though?

S: It was between the time of the Melvins album recording, before Dale and I went on a Redd Kross tour in April.

K: Did you have any of that music already made, or was it all crammed in there last second?

S: The thing is that I don't really write a lot, so this was new for me. Most of them were born with me playing bass over a click-track, and then Dale adding drums over it.

K: Well for a first songwriting effort of sorts, it was great.

S: Thanks man. I gotta tell you, besides Dale, you're the first person who's heard it and told me anything about it. It's really great and encouraging to hear your words about it.

K: You should write more.

D: We're gonna make you write more now.

K: Time to start the Stephen McDonald Experience.
 
S: (laughs) Well I did work a few long nights on it, so it's really great to hear your positivity. Thank you.

*Stephen exits the room*

K: Anyways… to finally wrap up this whole solo album ordeal, this came around the time that Joe Preston was in the band.

D: I think he was only in the band for about a year, honestly.

K: He played on Lysol, too. So I thought I would ask, since these reissues are happening and a lot of your set this tour includes Lysol material. Can you share any memories from the time period?  It can be about either making Lysol or the Dale Crover EP.

D: Lysol was done in about 5 days. We toured a little with Joe before making that. It was all pretty quick.

K: Then did the solo records come out right after, or had that concept been kicking around for a while?

D: You know, I think that was the first thing we did with Joe. I can't remember though. What does that thing [my copy of the Dale Crover EP] say?

K: 1992.

D: Oh, then Lysol came out first. But with the solo albums, I was pumped to do mine.  \I had never written songs for a record before. It was a big first time. I remember Joe being a little freaked about it, and treating it as if it were a homework assignment for him.

K: Why's that?

D: I think we assumed he had done more than he actually had. He had played in some bands before, but I don't think he had done much writing for them. But, there are people who really like his.

K: I'm in that minority. You and Joe made the best ones.
 
D: Buzz's was good too, but he's also the main songwriter for the Melvins; so, it was a little bit harder for him to write something that fans may have seen as standing out from the rest of our stuff.

K: I think that track Dave Grohl does vocals on ["Skeeter"] was out there. But I’m still in that niche who thinks the Joe EP and Lysol are great.

D: I didn't think anybody would like that record when it came out.

K: Now you have bands like Sunn O))) making pretty good careers off of it.

D: I think Sunn O))) has always said they were influenced by that stuff. Then that Sleep record, Dopesmoker, is in the same tuning kind of. That, and it's also one long song. I know they've always been fans.

K: I can hear it now in my head. They are similar tunings.
 
D: It's just a weird tuning Buzz made. It's kind of like the Keith Richards tuning if he kept his E-string on, and tuned it to C.

K: And if you had him playing through an entire wall of amps.

D: I remember opening for Soundgarden right when that record came out. We played that song.  The review in the paper the next day said we just played one note. That made us think like “Oh yeah??  We can show them one note.” That was what the set that night ended up being.

K: It must've been hard to do on drums.

D: Oh yeah, exhausting (laughs).

K: Do you guys think you'll ever play stuff from the solo records live?

D: I don't know. I know I never have.
 
K: From a fan perspective, I think it would be great.

D: Sure, sure.  Maybe.  I mean, I have a new one out, so…

K: That was what I was about to mention! You have this new album, The Fickle Finger of Fate, which is really great. It's not a Melvins thing, it's a Dale Crover thing.

D: Yeah, thank you. I started making stuff for that before the new Melvins record. I knew I wanted to make a solo record, but had to wait to finish it after we did Love & Death.

K: When did the idea come to do the solo record?  I have a single you released that features one of the tracks, "Big 'Uns," on it. Then, all the drum interludes are from that Skins EP you made. Did you have the intention to always make these songs on a solo record?

D: Yeah, pretty much. I thought I would just release a few singles, and then when I had enough songs, I could just make it an album of some sorts. Even before that though, I had done a single with Tom Hazelmyer.

K: "United Fruit?"

D: Yeah, which I was going to put on this one, but decided against last second. The album had enough songs.

K: Wasn’t there the Black Flag cover song too?

D: That was my other band, Altamont. I play guitar in that. Just a couple of friends jamming is all.

K: Ah, ok.  My mistake. In terms of your solo writing though, who are your influences?  I noticed your stuff sounds a little like Ty Segall.

D: That sounds fair, kind of. Mostly, it just comes in the moment. I may have something cooking for a really long time, in terms of riffs. Or, I may pull out my iPhone and just record me dicking around and such. A few of the songs on this record though have been around for a long time. But, each song has its own flavor in my opinion.

K: That’s true. You go one minute from mellow-rock stuff to a song like "I Found the Way Out," which is like a Pink Floyd sounding track almost.

D: Sort of. That song was made as we were recording the record. Toshi, who did the sound engineering, was just messing around with me as I detuned my drums. I got inspired to do that by listening to this band called the Lemon Twigs. They had done that drum sound, which is a 70s era sound. Toshi had also wanted to do that drum sound for a long time too, even without me mentioning that band to him. Then, from there, he had just been messing around with the keyboard to make the main riff.  He wrote that song, basically.  That was tough though, because he writes a lot different from the way I do.  I thought we would make the song more bluesy, and he was like, "No! I don’t want it to be like that." He was going for a Queen vibe, because he's a big fan.

K: All this is a good lead into my next question: Did you have anyone else help you play stuff on this record, besides Toshi?

D: Yeah, Steve plays bass on a few songs. There was one song, "Little Brother," which I knew I wanted him to play on with his Hofner bass. It has flat strings on it, which gives it a 60s sound. He played it on some Redd Kross stuff, and then, also, when we did an acoustic performance to go along with a screening of the Melvins documentary that was released this year. But, long story short, that bass really changed the whole tone of the song.

K: It's amazing how one sound can do that.

D: Yeah, for sure.

K: You think there are any plans to do this live?

D: Well, the Melvins tour so much, I don't know if I could do a full-scale tour. It would be great to do some shows though.

K: It certainly seems hard to compete with the Melvins tour schedule. I was surprised the Crystal Fairy [Dale and Buzz’s new band with members of Bosnian Rainbows] was even attempting to play before those shows fell through.

D: Actually, the Melvins tour took the place of the Crystal Fairy tour when that was canceled.

K: It seems like the Melvins tour schedule is just work in the studio all winter, tour all summer.

D: More or less, yeah. We don't like to tour in the winter. It's dangerous and too cold. I think we are a good enough live band where we can keep it to just a certain part of the year.

K: Oh my God. That show on Thursday at Irving was amazing. It was like you were on a mission from God.

D: We were (laughs).  '’m glad you liked it.

K: For sure. Now before we end this interview, I want to take a look into the future. What's after the Love & Death tour?  I've heard there's a record made with Steve AND [Butthole Surfers bassist] Jeff Pinkus play on.
 
D: Shhhhh (laughs). I think I mentioned it way too soon to people.

K: I can keep that out if you want.

D: Nah, it's cool.  I doubt you’re the only one to know it exists. I'm sure there will be other material too.

K: Does that record have a timeline on it?
 
D: I think we're gonna hold off on it for a while, honestly. It's weird. I think it'll shock some people. But we can save all of this for next time. We must leave surprises.

K: And what about leftover solo stuff?

D: Yeah, I still have some leftover stuff. I'd like to put some more out eventually. The label is into it, and plus we've always stuck to our principles of that we can do whatever we want.

K: I can’t imagine you or any Melvins members operating in a different way. Plus, I think that Joyful Noise Recordings has even allowed a band called Anal Trump to put out a record.

D: That's a great band name.

K: (laughs) They make decent songs too. But, finally, can you give me any word on that band you started with Stephen and Ty Segall called Broken Bat? That snippet you guys made years ago is the only thing that surfaced, and I'm curious as to what happened.

D: Well that started when I toured with Stephen in OFF! We got to know each other much more on tour. We tried to start a band, and Stephen brought up Ty Segall. He said we should ask Ty to jam with us, so we did and started to do stuff. We made that one song, and that was sadly kind of it. He's always busy with things, and Stephen and I are doing the Melvins stuff now.

K: Damn.

D: It was actually his absence that got Buzz to jam with Stephen and I, which ended up with us having him now as our bassist.

K: It's all full circle now!

D: Well it worked out so well because he's local, and we are open to anything. We never close doors.

K: Was that a philosophy that you guys adopted from the start?

D: Hell no (laughs)! We just take it all one day at a time. Enjoy the ride.

Dale Crover’s The Fickle Finger of Fate is out now on Joyful Noise Recordings. Catch him drumming on the road this Summer and Fall with the Melvins, as they tour their new record, A Walk with Love & Death.

Melvins, A Walk With Love & Death, 2017

Album Review

By Ken Geiger

I can tell you this much: I do not care if the Melvins release an album or two at a yearly rate. Every single release will be heralded as an event of the utmost importance to me, and it should be to you too. The Washington-native band have remained one of the most prolific bands of the past 30+ years without ever facing a decline in quality at all. In fact, some may argue that they only continue to become BETTER with age. I am in complete agreement with the people who think that of the band; and this new album, A Walk with Love & Death, is a perfect example of why so many see that the Melvins are a band who only continue to grow and become more important to the state of music.

One of the first notable things about this record is the fact that it is a double album (the first one the Melvins have ever done, if you can believe that). The first disc, Death, is a proper Melvins album. The second, Love, is a soundtrack the band created for an independent film that shares the same name as the album. Starting off with the first disc, Death contains some of the greatest the band has put out since the turn of the century (and maybe even in their entire career). Cuts such as "Sober-Delic" and "Black Heath" see the band going into a direction that resembles more of the psychedelic rock of the 1970s, than any previous Melvins sound. "What’s Wrong with You?" is a perfect take on the Redd Kross sound that bassist Steven McDonald made a name for himself with. However, the band does not totally abandon its heaviness, as you have one of the heaviest cuts in their entire catalogue on this album in the form of "Euthanasia" (which has actually been in existence since the 1990s). I have to say, though that my favorite track from this side of the record (and probably overall) is "Flaming Creature," a song that manages to blend classic Melvins heaviness, their new fondness for trippy psychedelic passages and Steven McDonald's power-pop sensibilities all into one beautifully crushing masterpiece.
 
Now with Love, the second disc on this album, the listener gets a soundtrack that is as crazy as one can imagine it to be. I originally was going to pass on this record, but then realized how similar this disc is to another one of my favorite Melvins releases, The Colossus of Destiny. If you are a fan of the band's more experimental side, or just a fan of odd soundscapes in general, then this is definitely a record you should spin at least once. It really encapsulates the entire experience of this double album. Plus, with some highly esteemed guests, such as Thomas Hazelmeyer of Halo of Flies and Joey Santiago of Pixies, how can you go wrong with at least giving it a listen?
 
Clearly, the Melvins just show no sign of slowing down and settling into one sound. I could not even imagine them attempting that. This new melodic hard rock direction in songwriting that the band have been exploring since Steven McDonald joined has been constantly piquing my interest, and this record is that sound coming into perfect fruition. Sure, it may not be as heavy as some of their more classic albums, like Lysol or Houdini, but that doesn't make it bad; not at all. In fact, the songs on Death are some of the most epic tracks that the band have put out in their entire career. On the flip side of things, Love shows that the Melvins can still find ways to experiment in new fields and be weirder than anyone out there without compromising their sound.

Overall, this is one of my favorite records of the year, and it's even starting to slowly crack into my top 5 of favorite Melvins albums in their discography. Do not turn a blind eye to this record.  t is out on Ipecac Recordings in all listening formats and can be found online, in stores, or maybe at the band's merch booth when they roll around to the Stone Pony on August 5th (which is definitely a show that nobody in the Jersey Shore area should skip).

Full of Hell, Trumpeting Ecstasy, 2017

Album Review

by Ken Geiger

Truth be told, I cannot give you some background story of victory in which I discovered Full of Hell back in their earliest days and have been anticipating they would make such a momentous record like Trumpeting Ecstasy. I came late to the party with them, finding their incredibly bleak collaboration with The Body to be one of my favorite records of 2016. As awesome as it was, I still could not help but wonder where the band would go from there. Would they continue down the noise-influenced grindcore path of that collaboration, or would they embrace more of the death metal path that they dabbled in on the Amber Mote in the Black Vault EP? Although I had become more familiar with the former, I am glad they ended up doing the latter because Trumpeting Ecstasy has all the makings to become a benchmark in extreme underground music.
 
The album comes roaring right out of the gate with the lighting quick "Deluminate," and it refuses to let up until the final seconds of the closer, "At the Bottom of the Cauldron." While this album does contain a large amount of influence from grindcore song structure throughout most of the album, it is the little nuances that the band add into these songs that make them so entertaining to listen to again and again. "Branches of Yew" sticks out with its skittish vocals that find vocalist Dylan Walker impersonating Mike Patton, if he were possessed by some demonic spirit. The guitar break in the middle of "The Cosmic Vein" draws equal influence from old school black metal and hardcore punk a-la The Dead Kennedys. The title track is probably the farthest departure from the band's usual sound to date, as it is a song that relies more on an industrial noise song pattern than it does any guitar riffs of heavy blast beats. The track is proof that the band obviously learned well from their time spent with The Body (one of that band's members, Lee Buford, actually appears on this track). Hopefully that is a sound they will explore more of on their own in the future.

What really stole the show for me on this record though were the vocal performances, whether they came from Dylan Walker or any of the various guests. These vocals are what make this band stand out from their contemporaries. They are demented to the point where you almost feel as if they pull you down into whatever pit of despair the band is singing about. This is especially the case on the latter half of "Gnawed Flesh," where Walker repeats the line "Man will fail. Man will always fail." Whenever I hear that moment, I tend to feel almost disgusted at the world based just on the sheer power of the guttural vocal performance. It has been quite some time since a vocal performance has caught me in that manner.

This is easily the best release for extreme metal I have heard this year. This record overall is one of the best releases of 2017. The band managed to live up to the hype that has surrounded them now by simply doing what they do best, which is drag their fans through the depths of nihilism and punishing riffs. Look for the band to tour the hell (no pun intended) out of this record soon, because this could be your last shot to see a band like this play such small venues.

Recommended Tracks: "Branches of Yew," "Crawling Back to God," "Gnawed Flesh," "Trumpeting Ecstasy."

Trumpeting Ecstasy is out now on Profound Lore Records. 

What Ken Geiger Did Before His Summer Vacation

Mastodon at SXSW back in March.

Spring Semester Update

by Ken Geiger

Another short update of essential stuff I have heard in the last few months during school.  Now with my summer vacation here, I can start going back to more individual reviews, rather than just clumps (which I think is great).  But anyways, here is a good list of records and live acts you should familiarize yourself with if you want to stay cool and such.

Best New Music

Mastodon, Emperor of Sand. Mastodon have propelled themselves as emperors of metal (pun intended) throughout the years with great release after great release. Although many do complain that the band have stepped away from their progressive metal sound, I'd argue that this record is a perfect blend of their newfound interest in straightforward rock and technical playing. This album has ended up as one of my favorite records of the year; so I, of course, have to recommend that you go out and pick it up. Hell, you should even see the band live on their upcoming tour, too (featuring some great openers in Eagles of Death Metal and Russian Circles). THE CoolDad himself can vouch for me that even a non-metal fan can see them as a live force.

[CoolDad Note: I can. The thing that really struck me about them was that they seemed to be having so much fun as they played. None of the earnestness I usually associate with metal. Just a band who could really play giving it all they had.]

Best Song: There are about 7 songs I could say are the "best song," depending on my mood for the day. Today, I am going to have to go with the soaring epic that is "Roots Remain."

Pallbearer, Heartless. Along with Mastodon, I can confidently say that Pallbearer is a perfect band for fans of non-metal that want to become acquainted with the genre. Their vocals are beautiful and easy on the ear and their riffs are heavy, yet extremely melodic. The only thing that one could say is a turnoff for these guys is the fact that their songs are very long (two tracks on this release are over 10 minutes). However, no song on here feels like its length is forced by boring or painful compositions. It's pretty amazing when a band can do that.
 
Best Song: The finale of “A Plea for Understanding” is too mighty to deny.

Bones, Unrendered. Bones has built his reputation up for years as a Soundcloud rapper with ambient beats and a quiet vocal delivery. His whispering of bars is almost an instrument in and of itself, giving the instrumentals more emotion. While I have been a fan of some of his select tracks in the past, I think that this project is probably his most cohesive work to date. Definitely a good mixtape for fans of rap and/or ambient music to check out.

Best Song: "MyNephewHasAWhitePickupTruck" not only is my favorite song off this release, but it also might have the goofiest title of any of the songs on Unrendered (and trust me, there are plenty of odd titles on here).

Crystal Fairy, Crystal Fairy. Melvins madmen Buzz Osbourne and Dale Crover team up with Teri Gender Bender of Le Butcherettes and Omar Rodriguez-Lopez of The Mars Volta and At The Drive-In? Yes please. Give me that music. Give it all to me NOW… This record is kind of what you would expect when you hear those names paired together; a collection of heavy yet quirky riffs mixed with the amazing vocal talents of Teri (and occasionally Buzz). Fans of any of these musicians' previous bands will find this project to be great. As for newcomers, I think if you enjoy heavy, female-fronted rock with a twist of punk in the sound, then this record is for you too.

Best Song: When you have a riff machine like King Buzzo in your band, it is often difficult to pick favorite songs. I think though overall as a band though, this project shines through best with the track "Moth Tongue." The guitars are undeniably catchy, the drums are classic Dale Crover and Teri does some of her best vocal I have heard up until this point on here.

Blame God, Strategically Confined. Blame God guitarist Mark Valentino once said this EP was "the best way to waste 10 minutes of your day." Well, he's pretty dead on in saying that. This EP is unrelenting in its delivery, and it's a good representation of what this Long Island-based grind act is all about. This is a definite must-listen to for fans of bands such as Pig Destroyer and Insect Warfare. For anyone who lives up in the Long Island area, Blame God will be playing some great bills this summer, opening for the likes of Gatecreeper and Negative Approach.

Best Song: The opening track "Deny" is catchy in its riffs, and a great introduction to what this band is all about.
 
Best Live Acts

Eyehategod. New Orleans sludge institution, Eyehategod, had one of the more interesting and somewhat depressing stories of 2016. Their singer, Mike IX Williams, was in need of a liver transplant and had to sit out their tour with Discharge and Toxic Holocaust. As a result, Lamb of God vocalist, Randy Blythe, stepped in for the dates. While Randy was great live, I felt that I missed something by not seeing this legendary band play with Mike. Fast forward to Easter weekend in Philadelphia; and there I was, seeing the legendary Mike IX front the band everyone had grown to know and love him for. Despite nearly dying, Mike sounded great with the band. His vocals are still as harsh as ever, and the band just churns out riff after riff. On top of that, the band's stage banter was great (Although I wish that guitarist Jimmy Bower had taken my debit card with him. It would've been an honor). I do not know if the band have any plans to come near again; but, if they do, they are a band you do not want to miss. Their rabid fanbase and aggressive playing will make for a show you will not soon forget.

Full of Hell. My plan is to review the new Full of Hell album separately from this piece, because that album deserves some long coverage. In the meantime, let me talk about how the band killed it at Union Transfer this past winter. The band have become very well known for their chaotic live shows, and this one did not tarnish that reputation at all.  Full of Hell were able to pummel through both old and new songs with absolute precision, and included some creepy noise interludes when possible. My favorite part of the set had to have been when drummer Dave Bland and vocalist Dylan Walker shared a moment to showcase their drumming and screaming skills as Walker did a Mike Patton type of screaming solo over the final drum solo of the night. This is definitely a band any fan of punk, grindcore, metal, etc. will want to see live.

Today is the Day: As a part of a Record Store Day in-store performance, I was lucky enough to catch the legendary Today is the Day rip through a blistering 40-minute set at the Rough Trade in Brooklyn. Playing mostly material from their seminal Temple of the Morning Star album, the band gave everyone in the crowd a compelling demonstration as to why they have become legendary in underground circles. Singer/guitarist Steve Austin always appears as if his chest is literally going to explode with each scream in a showcase of some of the most passionate yells I have still heard to this day. The band remain surprisingly active, despite their longevity, and plan on touring after they record a new record. I recommend keeping up with them so you can have a chance to witness them live. Today is the Day are worth every penny you will pay to see them, and if you think I am lying about that… I really cannot help you because you must be out of your damn mind.

Ivan Saladin: This New Jersey grindcore outfit is one I was able to witness at an undisclosed location one weekend back in April, and they appealed to me almost immediately. Their set caught my eye at first because the first half was a musical reinterpretation of a Metal Gear boss battle. The other half had some pretty punishing and catchy riffs, which you know I happen to be a very big fan of. Heavy music in New Jersey needs to have weirder stuff like this going on, because it rules hard. I hope to see these fine gentlemen play again in the future, and I hope people reading this will take my word, and come out with me to hear whatever the hell they have up their sleeve next.
 
That's all I have to say for the final few months I have been away. Now that I am free of school-related obligations, I promise to do more in depth coverage as I had in the past. My first mission: review the new Full of Hell album, so be on the lookout for that. I feel like it is bound to be another great summer here on the Jersey shore.

Ken Geiger’s Winter Catch-Up

What Have I Been Up To?

by Ken Geiger

Hello, readers! I realize that I have been silent for quite some time with posting about new music and live shows. Long story short: School and personal affairs have been more intense for me at the beginning of this year than I could ever anticipated. However, I still promised myself always in the back of my mind that I would deliver some kind of overview of the new music I have enjoyed, what great acts I caught live, and even what is coming on the horizon that I recommend people should look out for. Now without further ado, here is my winter catch-up list(s):

Favorite albums of this winter

Pissed Jeans, Why Love Now

This Allentown, Pennsylvania quartet has been at it for well over a decade, churning out disgusting and chaotic hardcore records like it's nothing. This album follows in that same vein, mostly on tracks like "Ignorecam" and "(Won’t Tell You) My Sign." However, I think my favorite track has to be "Love Without Emotion," which showcases a much more melodic and tender (please take that word in context. It's hard for Pissed Jeans to be tender.) side of the band. FFO: The Jesus Lizard, Hot Blood or Mudhoney.



The Paranoyds, Eat Their Own

Following up their fabulous After You (also one of my favorites of 2016), The Paranoyds go to a creepier and more synth-driven sound on the brand new Eat Their Own EP. This one gives me totally different vibes from their last release, which is just fine by me. It's stranger, more lo-fi and has a total 80s slasher film soundtrack meets Scooby Doo music vibe. Hopefully they come back around to the east coast soon, because they also put on a hell of a show. FFO: Blondie, Lunch Ladies or Roky Erickson.



Power Trip, Nightmare Logic

It's honestly hard for me to enjoy any type of crossover thrash revival bands nowadays. The 1980s bands defined the sound so well, how can it honestly be improved upon? Enter Texas's Power Trip with Nightmare Logic. This record goes hard from start to finish. Sound production is vintage crossover sound, and I want to note that the way the guitars came out on this sound downright frightening in some songs. This record can have me headbanging from start to finish, no problem (Well, the whiplash might be a problem). FFO: Suicidal Tendencies, Municipal Waste or Hot Blood.



Fluoride, Fluoride

New Jersey's finest grindcore band (as declared by me) just released their debut album on 3/7/17. As of the time I am typing this, I am on my third listen to it. 8 blistering tracks make up this release which clocks in at just about 15 minutes, and each one is heavier and more punishing than the last. I particularly love the use of noise influence that Fluoride included on this release, as it gives a strangely atmospheric vibe to chill out to amongst the bursts of aggression. This band is definitely the next big thing happening for New Jersey in heavy music, and it would be a shame if you Shore-Area people missed them when they come play Atlantic Highlands on 3/18. FFO: Full of Hell, Pig Destroyer or Sick Shit.



Grodock, Tape 1

The internet has its perks for music lovers. I found this ambient / industrial project from Germany off of one of the many Facebook groups I am in, and I'm thankful for technology because of it. Great tape loops to lose yourself in, whether it's for studying, falling asleep, or just looking for casual background music. I cannot wait to hear more from this project in the future, as I have been on a huge ambient kick lately.  FFO William Basinski, Merzbow or Oxbow.



Favorite Live Acts of This Winter

Run the Jewels

I already did a separate review of Run the Jewels' new album, which is why they are only featured here for the live aspect. My God though, do they deliver live. A Run the Jewels show is a great mix of humor and lyrical wisdom from the group and punk intensity from the crowd. I never thought I would see such a mosh pit at a rap show. Unfortunately for anyone reading this who has yet to catch them in the States, they just finished their North American tour on 3/1 at Terminal 5 (1 of the 2 shows of theirs I attended). Do not mess up when they come back for more this summer though. Definitely one of the biggest groups of 2017 to keep an eye on!

Pissed Jeans

I had to see it to believe it; people had told me that Pissed Jeans shows were intense and soaked in alcohol. That was exactly the case when I saw the group at the Brooklyn Bazaar back in February. An hour and a half set was highlighted by stomping on full beer cans, ripping pants, talking about clogged toilets and even singer Matt Korvette giving me a kiss in between songs. Considering the band has a new record out this year, I would not be surprised if more Tri-State area dates come around a supporting tour. Keep an eye out for those.

Malevich

I ended up seeing this Texas outfit as a result of opening up for them back in January. Equipped with just four dudes and a strobe light, Malevich delivered an obliterating 30-minute set in the basement of The Meatlocker. I have become a fan ever since. The band had told me that was the first time they ever made this far up north, so I cannot say when the next time they will return will be (hopefully soon!).

The Body

I raved about how much I loved their collaborative record and live set with Full of Hell last year. I finally had a chance to witness the Body play live when they were opening for Alcest back in February. Ditching their usual drum and guitar attack for an all-electronic set was a great choice for the band, as they sound flat out powerful that way. Another great addition was the all-female vocal guest stars at the end of the set. The Body is expected to release a new record this year, as well as another collaboration with Full of Hell (release for that is currently pending). Anticipate that a tour from them will follow.

What the Future Holds

Full of Hell, Trumpeting Ecstasy

In my interview, back in September with Full of Hell guitarist Spencer Hazard, he said the band was going to head into a more death metal style. Hopefully his words hold true with this new record, which is being released on May 5th.

New music from Sleep

For those of you unfamiliar with the band Sleep, this is a pretty monumental event. Sleep's last release was in 2014, which was one song (not taking away from that one song, because it is amazing). Their last full length dates all the way back to the early 2000s, which was actually recorded back in the late 90s. Basically, it has been a very long time since these doom metal legends have gone into the studio with the intention to put out any kind of full length material. Guitarist Matt Pike confirmed that this was the year to record though, so let's hope he stays true with that word and we actually are blessed with new Sleep.

Mastodon, Emperor of Sand

The biggest name in modern metal today is coming back with their first full length in 3 years! The two singles I have heard off of Emperor of Sand so far, "Show Yourself" and "Sultan's Curse," give me high hopes for what’s to come. They will also be hitting up North America on tour to support this record, which will see them making a stop at the Hammerstein Ballroom on May 11th. Definitely a band worth checking out live, as well as on record.

Blame God

Never heard of this great powerviolence band from Long Island? Shame on you! Blame God is an awesome group, and features the talented Tri-Ptate area photographer Mark Valentino on guitar. Just how big are they hitting it? I guess a considerable amount, if you take into account that they will be opening for Nails in Brooklyn this month. For fans of heavier local music, this band is one to keep your eyes on.

More local shows

Maybe I have just been way too out of the loop recently because of a busy school schedule, but I do not think that I have really seen a local show since January. Yikes! I am slacking! That will be changing soon though, considering my schedule is freeing up more (or so it appears now).  I'll catch some of you New Brunswick regulars soon enough…