Concert Review: Dark Tranquillity At Launchpad

This show was a perfect storm of musical variety, consistent heaviness, and high-energy excitement. Launchpad is one of my favorite venues, and it outdid itself for this concert. Each band was unique, yet the chemistry was cohesive, and the result was like the so-called “goldilocks effect” that created life on our planet: A seemingly random formula of a certain matter, in certain places, et cetera, that culminates into a whole greater than the sum of its parts.

Starkill managed to impress, even though I only caught the very last of their set. Their music had hints of metalcore, with melancholy clean vocals juxtaposed against growls and melodic guitar hooks. I was inspired to check out their bandcamp, and to my delight, they have a fine collection of power chords and haunting female vocals, plus some wicked guitar solos.  Do yourself a favor and check them out.

Enforcer are an epic power metal hailing from Sweden. Everything about this band screams “80's METAL!!!” Enforcer hark back to the days when the line between hard rock and glam metal was blurred. From catchy guitar riffs and harmonized choruses, to shredding guitar solos and high pitched vocals, this band exemplifies everything that made early heavy metal so badass.

Swallow The Sun, from Finland, are defined by progressive, almost trance-like soundscapes. Their atmospheric music is experimental, ambient, and mesmerizing. The lead singer boasts skills in both clean and gutteral vocals. It was easy to get lost in the mix of the music, and go to another world entirely. Its seldom that we consider music that could be simultaneously brutal and beautiful, but Swallow The Sun offer the best of both worlds.

Dark Tranquillity are one of the most prolific Swedish melodic death metal bands, hailing from the city of Gothenburg, from which the genre earned its nickname. Playing classics like White Noise Black Silence, the band also performed tracks from their new album, Atoma, which is yet another masterpiece among their impressive discography.

Within a matter of seconds, soaring melodies plummeted to the gutteral depths of hell, displaying a complete mastery of both heaviness and melodic virtuosity. Not only are they expert musicians and eloquent lyricists, they are also genuinely passionate. Their excitement and energy are infectious. These are badass shredders who happen to be very humble and down to earth. Like their fellow Swedes Enforcer, they are cool enough to socialize with fans, sign autographs, and generally kick ass at life.

Oh, and rumor has it a vest of one of the band members went missing that night. If anyone knows where it is, or can help return it, please do so. That vest was going to be auctioned for charity at the end of the tour. If you have any information regarding it, please contact the band!

All things considered, it was almost a perfect night. This concert is a shining example of exceptional live music, played with heart and soul. A genuine connection between bands and fans, plus professional musicianship and talent, made for an amazing show. Five stars out of five! 

Carnun Rising: Vercingetorix

Carnun Rising is a melodic death metal band hailing from Dublin, Ireland, Although they are a solid band as a whole, the guitar work outshines everything else.  The vocals are decent but nothing original, just some generic gutterals. However, the vocals offer an interesting contrast when they syncopate with the guitar riffs, with the upbeat of one being the downbeat of the other.The drums get lost in the background, other than a few cool rolls every now and then.

Temple Of Flesh is the best track from this EP. Those energetic guitar licks will get stuck in your head. I've been raping the replay button for 3 days in a row, and I'm still addicted. The title track, Vercingetorix, offers some amazing solos, whereas Flames Of Gergovia falls flat and doesn't stand out one way or the other. The final song, Caesar's Bane, shows some folk influence with a Celtic melody.

The lyrics are not published, but the words I could understand were anti-religion, and often referred to chaos and death. The album art shows the Druidic deity Cernunnos (from whom the band derived their name) sitting cross legged in a circle, making a symbol that resembles an inverted pentagram.

Among other albums, Vercingetorix is available for download on Bandcamp. The production quality is surprisingly good and the guitar techniques are exceptional, but otherwise, Carnun Rising sound similar to many other melodic death metal bands.   Four stars out of five.

Septicflesh: Titan

The sheer depth of this album suggests musical influences ranging from death metal to Wagner. Although following in the same symphonic vein as their previous material, Septicflesh are taking more musical risks in Titan. Freaky shifts in the rhythmic pattern keep songs suspenseful, yet the technical proficiency of the harmonic progression keeps it focused. One is reminded of the Theodore Roosevelt quote: "Keep your eyes on the stars and your feet on the ground."  The atmospheric unease of the choirs make an elaborate and beautiful background on which Spiros Antoniou projects his relentless harsh vocals, which tend to be the focal point of almost every track.  Like prior releases by Septicflesh, the lyrical content is often derived from mythology, which lends to the cinematic grandeur of the album. As it's name suggests, Titan strives to embody massive scope and overwhelming power. The album exemplefies blind fury tempered by disciplined precision, resulting in a brutally beautiful masterpiece.

Although the whole album is cohesive, some songs excel and innovate where others stay more predictable (but still pretty damn good.) The opening track, War In Heaven, hits the ground running but then retreats to a more comfortable song structure.  Prometheus, although obviously referring the the eponymous figure in Greek mythology, is likely inspired by the famous lament O Fortuna. The former emulates the latter in sorrowful melody and theatrical intensity. Similarly, the title track, Titan, offers a striking contrast between dynamic leads and drastic, almost dissonant orchestral arrangements. Other memorable tracks include Order of Dracul and Dogma, which feature exceptional composition and airtight execution.

 Confessions Of A Serial Killer failed to impress me with its unimaginative title and cheesy opening sound effect, which resembled a halloween ghost "Oooooh" sound. The repetitive Burn was the only other song that sounded out of place on an otherwise phenomenal release. Titan's shortcomings are few and easily overlooked. Five stars out of five.

Last minute reminder: Don't miss out on Septicflesh and Fleshgod Apocalypse, co-headlining the Conquerors Of The World tour. They hit my neck of the woods on July 11th, featuring Black Crown Initiate, Necronomicon, Deforme, and Endless Infection. The madness takes place at Blackwater Music on 109 4th street, and it's only $12 in advance or $15 at the door! See you there.

Hellfest 2014

For three days a year, the sleepy little town of Clisson in the French countryside is completely invaded by metalheads from all over the world. This is Hellfest, a metal festival that exploded from obscure beginnings to a world renowned event. This was my first time attending, but definitely not the last. My perception of music, society, and even time itself is irreversibly altered. Here's why:

1. The Stages

The mainstages were reserved for the likes of Slayer, Iron Maiden, Black Sabbath, and Sepultura. Admittedly, some of the bands (even headliners) were past their prime. As much as I hate the phrase "washed up", you can't be something you're not. Aerosmith was disappointing, even when heard from a distance.  I didn't even give Black Sabbath or the remains of Slayer a chance to break my heart. However, the main stages redeemed themselves with Iron Maiden, Sepultura,  and Behemoth, but more on that later.

The Altar and The Temple were adjacent stages which featured various subgenres, from metalcore like Soilwork, to the symphonic brutality of Septic Flesh, to the folk metal stylings of Eluveitie. I was impressed with most bands who performed there, excepting Opeth, who failed to live up to my already low standards. The one song that I enjoy, The Devil's Orchard, was the first on the butcher's block. Like the Misfits show, the audience was densely packed with die-hard fans who stay loyal to their favorite bands, even when they suck.

The Warzone was an apt title for the punk/grind/hardcore stage. The moshers were berserk, and the music was unrefined, unpretentious, heavy shit. This was the kind of refreshingly honest hellhole that you visit with like-minded psychos who want to punch each other in the face and get sand in crevasses you didn't even know you had. It was fucking amazing. The sole disappointment was The Misfits' set. Like Opeth, this show was overcrowded with fans like myself who were trying desperately, albeit in vain, to enjoy the show.

The Valley tended to showcase doom, sludge and stoner metal.  The occasional deviation from these genres included acts like Godflesh, Clutch,  and Phil Anselmo And The Illegals (who blew my mind, by the way.) For the most part, however, this is the stage that hosted Electric Wizard, Spirit Caravan, Dozer, Kylesa, and other deliciously slow, heavy, yet ethereal bands. Even if you missed a set, you could still enjoy the smoke billowing out from within the performance space.  It was almost like headbanging in a bong.

2. The Bands:

Eluveitie was hands-down the best performance I've ever seen. Not that their theatrics were especially impressive (typical flashing lights and headbanging on stage), but the overall sensory experience was sublime. Every salty-sweet aroma of sweat, beer, and blood, every infinitesmal visual nuance, and every tactical sensation of hair swinging and bodies slamming was absolutely magnificent.  Their set featured the first wall-of-death I saw at Hellfest, and the only one in which I participated. Those were the sweatiest dudes ever, and few of them were fully clothed. At the risk of sounding nasty, that was one slippery pit. That was also my first time to be thrown over the rails while crowd surfing. Words cannot describe my confused euphoria.This was the kind of show in which the mob-mentality prevails and the collective is greater than the sum of its parts. I strongly believe that everyone who walked out of the tent after the performance (including the band members themselves) left with more than they had when they entered.

But enough of that esoteric nonsense. Behemoth kicked my ass. I was close enough to the stage that getting set on fire was a legitimate concern. Sadly, however, I wasn't close enough to touch Nergal and gain his powers. I pop up occasionally in the official video, but ultimately I was just another voice screaming in unison and a pair of devil horns lost in the crowd. When the set was over and the crowd dispersed, I saw one unfortunate individual bleeding profusely from the head. He was only one of many. Yeah, it was THAT good.

Iron Maiden was another exceptional show. Bruce Dickinson's voice can project as loud as ever, and there's nothing like seeing Eddie in person. The setlist included classic favorites such as Aces High, The Number Of The Beast, Run To The Hills, The Trooper, and Fear Of The Dark. My only complaint is that there were no deep cuts: I would kill to see a live performance of Rime Of The Ancient Mariner, or at least Montsegur.

   Derrik Green of Sepultura is another astounding vocalist. He doesn't even have to do the whole "growl from the lungs" thing like the rest of us; that's just his normal voice. He could say something innocous like "Pleased to meet you" and you would think you're conversing with a demon. His effortlessly deep growls, accompanied by Death Metal riffs and Sepultura's signature drumbeats and bass-lines, augured for one hell of a concert.

Septic Flesh was almost too perfect. With only minor discrepancies, their live show was virtually identical to their studio recordings. Although they obviously used pre-recorded symphonic samples, I was nearly suspicious that the whole show was lip synced.  But then again, with symphonic metal as well-composed as theirs, perhaps there is simply no room for improvisation, not even during live concerts. Every single note, rest, melody, and harmony, had to be precise. So hopefully they didn't mime the whole thing, and they just happen to put on an incredible show. Plus, Spiros Antoniou is a bodacious babe, so I would probably forgive them anyway.


Traveling all the way from California to play at Hellfest, House Of Broken Promises was a spectacle to behold. Loud, tribal, almost primitive drumbeats carried most of the songs forward, while the riffs and vocals were more forgettable. That's not to say that the music was bad: The melodies were very catchy and chock full of hooks, but it didn't stand out from the hundreds of similar bands. Despite these shortcomings, they were still a great band to see on stage, and the crowd went fucking nuts for them.


I saw many more bands, but the main ones really worth mentioning are Soilwork, 1349, and Phil Anselmo and the Illegals. I only caught the last handful of Soilwork, but even those few minutes were enough to distinguish them as an exceptional live band. Their unbridled energy is contagious, and everyone in the audience was moving. 1349 was delightfully evil, and Phil Anselmo still sounds on top of his game. I only caught snatches of  Death and Nile,  but Death wasn't playing their heaviest and I really had to pee during Nile. I also missed Skid Row, Carcass, Dark Angel, and Ulcerate, but I'm sure they were all incredible. Megadeth and Iced Earth were M.I.A, probably because both bands are fronted by douchebags. Otherwise, the rest of the bands made delightful background noise while I stood in lines for various necessities such as food, beer, and wine.

3. The People

Needless to say, many people went to Hellfest dressed in costume. Amongst many other beloved characters, I saw Batman, The Joker, some dinosaurs, an old dude in a thong, several glam rock skanks, and our Lord and Saviour Jesus Christ. I even saw Spongebob Squarepants stagediving. Otherwise, most of us were wearing our usual uniforms of denim and leather. Everyone was clad in Doc Marten's, Converse, camouflage,  studded belts, fishnets, and Slayer or Iron Maiden T-shirts. I especially enjoyed it when hot people took off their shirts, oh yeah, baby, oh yeah.

Speaking of hot people, I wonder what happened to that gorgeous French metalhead who I almost seduced. I like to think that he was intimidated because he thought I was out of his league, but it's far more likely that my stench fended him off. Stupid, sexy Leo. Call me.

I also met this crazy stoner who is obsessed with wolves, and a cool Portuguese guy who is obsessed with whiskey. I hung out with miscellaneous circles of nice people, and I felt comfortable with just about everyone there. This was very unlike the American concerts I'm used to attending, wherein you can get attacked by a raging tweaker or junkie at any given moment. No actual fights broke out, no females felt threatened or unsafe, and everyone pretty much just partied in good spirits and saved the violence for the pit.

Even the bands aknowledged the  almost tangible sense of comraderie that we all felt. Frontmen would make such  announcements as "This is dedicated to each and every single one of you", "Metal is not only the best music on the planet, but we're also a family" or "We all sing this next song together."  Everyone knew that we were surrounded by our own kind, and it was pretty damn satisfying. Even as a stranger in a strange land, I had never felt so accepted for who I am.

And now of course,  I must extend a special thank you to the good friends who took me out to the show to begin with. I couldn't ask for better partners in crime, and I can't wait to see you all next year. You know who you are. You gave me the best week of my life, and for that, I am sincerely grateful. I hope you enjoyed my company as much as I enjoyed yours.

To everyone else: May these writings convince you to join me for Hellfest 2015, and Clisson, France will be our stomping ground once again.

Tales From The Thousand Lakes

I don't know why I'm suddenly obsessed with Amorphis. Maybe it's because they are mind-blowingly magnificent? Yeah, that sounds about right. Anyway, here's a review that's a couple decades late, seeing as the album was released almost 20 years ago. In my defense, I was only 3 years old in 1994. Anyway, here are my thoughts on Tales From The Thousand Lakes.

The lyrics  were lifted directly from the Finnish epic, the Kalevala. And when I say it's an epic, I mean EPIC. This is like the European version of the freakin' Bhagavad Gita. There's the creation myth, the story of the first man, and dozens of other stories intertwined together. So basically, the lyrics are all ancient poetry about the glorious trials, victories, and failures of yore.  FUCK YES.

On top of the lyrical badassery, Amorphis are masters of melody and composition. They are very much like  Wolves in the throne room, or even a Classical composer like Holst. they overwhelm you with subtlety. Their compositions are so painstakingly nuanced that you can't possibly catch all the details on your first listen. Everything from the album artwork to the music itself is intricately detailed, dark, and deep. Here's a track-by-track walk-through of this groundbreaking album.


Thousand Lakes is the opening track, characterized by a haunting instrumental melody. Next is Into Hiding, a stunning blend of beautiful Arabic melodies and Death Metal vocals. The vocals seem to utilize some kind of echo/reverb, which adds even more depth to an already amazing track.

The Castaway also incorporates the Middle-Eastern modes juxtaposed with dark, smoky vocals. The shredding guitar solos are a nice cherry on top. First Doom is a catchy, but still insidious, lament about mortality. This track is satisfyingly rhythmic; it almost has a dance-able groove to it. It shifts sporadically from these catchy guitar hooks to a more jagged sound, resulting in a striking contrast.

Black Winter Day is characterized by synthesiser/keyboard sounds. Frankly, I feel as though the experimental electronic style overlaps their stronger aspects. It's not the heaviest track, but still a decent song regardless.  Drowning Maid is my favorite track from TFTTL. The lyrics are the mythical Aino's soliloquy when she died along the seashore. The melody is tragic and the tempo portrays Aino's panic as she perishes beneath the waves. It's a very emotionally powerful, expertly executed, and empathetic song.

 Next is In The Beginning, a fast paced, high pitched number with a wailing lamentation  quality to it. Again, I'm not a fan of the keyboards.They sound like an 8-bit nintendo game, but otherwise it's a great song. Forgotten Sunrise is an aggressive return to Amorphis' Death Metal roots. The keyboards are more classy in this piece, at times sounding like Type-O Negative's spooky halloween themes, but mostly sounding ethereal and dreamy.

To Father's Cabin is a bittersweet ballad about... Well, I'm not sure really. The Finnish people are using their Poetic License to the full extent of it's power. The result is a multilayered, psychedelic soundscape accompanying the metaphor-rich narrative.The album is concluded with Magic And Mayhem, a synthesiser-saturated piece that sounds like it came right out of a Tolkien book or  some cloak and dagger, Doom n' Gloom RPG.  It's basically a demand for beer, and be quick about it or else Tomi Koivuusari will kill you.

I'm pretty awestruck that something as innovative as this was made in '94. I'm at a loss to describe this album objectively, since I empathize with the emotional overdrive tinted by a bleak outlook. The simplest way I can describe TFTTL is it's like the Socrates to my Meno. Check out the album in it's entirety here.

Five stars, muddafucka.

Amorphis: Circle

Circle is a major rebound after Beginning Of Times. Don't get me wrong, I thoroughly enjoyed BOT, but enjoyable isn't the same as phenomenal. It's not necessarily a bad record, it just pales in comparison to its predecessors. Whereas BOT was uber-melodic and keyboard heavy, Circle is just plain heavy. Amorphis ditched the saccharine undertones in favor of a more guitar-oriented approach. This shift is doubtless due to the involvement of Peter Tagtgren, renowned for his previous production work with acts such as Dimmu Borgir, Amon Amarth, Immortal, and Celtic Frost (to name a few. )

That's not Amorphis' only deviation from the norm (if you can say such an unpredictable band has a norm, but I digress). Since Tomi Jousten joined the band in '05, I have been astounded by his vocals. His range is fantastic, and I was impressed with his ability to sing cleans with virtuosity as well as intense, throaty Death Metal growls. Circle pushes his limits even further with some high pitched Black Metal voice-work.I usually don't care for demonic shrieking, but Jousten pulls it off.

Amorphis is a band who pride themselves on their ability to adapt to different genres. Their newest album lives up to this reputation by surprising the listener with refreshingly different dynamics in composition. The melodies alone are a force to be reckoned with. Forgive my cliche, but I truly expect the unexpected as far as Amorphis is concerned. Just when you're lulled into a false sense of security with a beautiful instrumental arpeggio, you get slammed with Tomi's powerful voice or some heavy-as-fuck guitar riffs. Likewise, don't assume that this another Melodeath album. It's not. There are dashes of Folk, Prog, Doom, and a whole plethora of genres that Amorphis has a knack for intertwining.  It seems that the only constant with this band is the melancholy aura that emanates from their jaw-droppingly gorgeous music.

The lyrics are tragic and mystical, painting vivid scenes of the surreal and macabre storyline. Unlike their previous three albums, Circle is not based on the Kalevala, but on an original story penned by Pekka Kainulainen. The protagonist is a lonely iconoclast, initially burdened with a desperate, sorrowful fate. By the end of the album, he gains some autonomy and recognizes his potential to control his own destiny. As Kainulainen himself succinctly summarized: "This is a story of survival."

Overall, this is a stellar gem of an album, and I am tantalized with the possibilities it opens for the next.

Five stars!

Hell In July *Updated*

 

Hell In July is the  aptly named national tour featuring Six Feet Under, Decrepit Birth, and Cannabis Corpse. *UPDATE*  The show made headline news, and here's a link to the article.

The show got off to a good start with Oscillation. The vocals are uber-deep growls, and occasionally reverb with an effect that resembles Autopsy's sound. The guitars and bass are aggressive and catchy in the vein of the Deathcore genre. This band is comprised of former members of Soul To Rest and Obelisk, keeping elements of both bands. Death Metal Party Sludge hybrid! 

Cassovita Is an instrumental duo of a drummer and a guitarist. The riffs are intricate and technical, complimented by the fast and precise drumming. The result is an extremely dynamic musical style. The audience is kept on their toes with abrupt changes in key and time signature. Some songs transition so intensely that it's almost like getting two tracks in one. 

Desmadre are pretty damn rowdy. No, scratch that, they are fucking RAUNCHY. They are a flashback to old school Grind, with the same fast, catchy riffage of Hardcore Punk. I guess that makes them Grindcore, doesn't it? These guys are straight up scary. Translated from Spanish, their band name means chaos, turmoil, disorder, that kind of thing. It suits them. 

Carrion Kind is another Metal group that emerged from members of broken-up bands. They, like Oscillation, retain aspects of their members' previous bands. So think along the lines of Grinkai's funky beats with Grind inspired riffs and some gutteral vocals thrown in. They are completely wicked. 

Abiotic's music sounds like the name implies: Morbid, dark, and sinister. This band is grade A top quality Tech-Death with elements of Prog.  It was around the time they hit the stage that everyone simultaneously got the munchies. I couldn't do much headbanging, moshing, or thrashing in general. I was too busy eating overpriced chile cheese fries and drinking shitty beer.

Cannabis Corpse was a lot of fun. Their sense of humor was spot on, and their sound was almost studio quality. They sound great on record, and it was the same on stage. The music is hilarious, with themes like getting abducted by pot aliens, or killed by weed monsters. 

Aaaand here's where the bad news starts. Right before they completed their set,  Bill Robinson of Decrepit Birth announced that the whole show would conclude with Cannabis Corpse' final song. The venue stopped the shindig short on account of alleged underage drinking. Instead of doing something reasonable, like kick the minors out of the bar area, they brought everything to a grinding halt. So two of the headliners, Decrepit Birth and Six Feet Under, were screwed out of playing and the audience was screwed out of seeing them. Fans booed, refunds were demanded, sheriffs were called, apologies were offered, but at least it was good while it lasted. Everyone from the promoters to the crew to the bands themselves cranked it to 11 to put on an incredible concert. Although I am disappointed that I missed two spectacular bands, the show was great from start to (early) finish. Oh yeah, did I mention it was fucking raining for part of the show?!  Yeah, those guys kick ass.

By the way, this whole tour was instigated by the release of Six Feet Under's latest creation, Unborn.  Even if you didn't get to see them this time, remember to support them and all the work they put into this album. Also, this is a TOUR. Give it a day or two and the same line up will be playing within driving distance.

Cheryl's final thought: I'm usually not this petty, but $3 for warm Budweiser and then you gyp me out of seeing two great acts? Don't mess with my booze and Metal. The venue gets a rating of a sad face. 

Meanwhile, the concert itself gets four stars. The line up was sick, and the crew worked wonders.  

Upcoming Shows: Part 2

This idea of posting flyers for shows throughout the country was so great in theory. In practice, it's a pain in the ass to scour the internet for Death Metal concerts in the Bible Belt. Then again, "treat others how you want to be treated." If I was a headbanger stranded in the middle of a conservative hell-hole, I would want someone to tell me when Goatwhore comes to town, too. Here's part 2, covering the Deep South and beyond. 

Deep South

I'm sure some crazy Deliverance-esque shenanigans go down at a Deep South venue called The Plughouse. Yikes.  

The Plughouse is on this flyer too. Wait, look at that background. Is that the same  river from Deliverance?! If you hear banjos, fucking run. 

Who wouldn't love a line-up this sexy? The tour dates are as follows: 

5/10 - Tampa, FL - The Orpheum

5/11 - Miami, FL - Churchill’s

5/12 - Jacksonville, FL - Roc Bar

5/13 - Gainesville, FL - The Atlantic

5/14 - Pensacola, FL - Vinyl Music Hall*

5/15 - New Orleans, LA - Hangar 13*

Northeast:

My geography is a little rusty, so I'm not sure if Connecticut is considered part of the Northeast or the East Coast. I'm not even sure if I spelled Connecticut correctly. 

We all love Tech-Death. This sweet line up takes the stage at the Palladium Upstairs in Worcester, MA.  June 3rd at 6 pm.  Tickets are $15. Also, check out that fuckin' background on the flyer. I could stare at that bleak landscape for hours on end. 

East Coast:

I have nothing funny or clever to say about this flyer. Sorry. 

This is quite obviously a Stoner Metal show. The venue, called The Pinch, is located  at 3548 14th St NW, Washington, DC 20010. 

Wait, it's a Stoner Metal show in Washington DC?! Personally, I'd be really paranoid about the Secret Service or the Illuminati or some other creepy government agency busting me for being toasted at a concert. But don't let that ruin your good time or anything. 

Lock up yo daughters, lock up yo wives. I'm coming to Maryland. 

Alaska:

I couldn't find any recent flyers for Alaska, but there is this cool contest.  Seriously, how could I not find any flyers for a cold, harsh region that's pitch black 80% of the time?! Alaska is like the Norway of the Western hemisphere. 

Hawaii: 

Oh no, Hawaii. Not you too. There wasn't much to find except this Guns n' Roses tribute happening tonight. Dying Fetus did just play at Hawaiian Brian's Showroom in Oahu, but that was on May 2nd. I wish I told you in time.  If I could change the past, I would. 

Whoo boy, what a hell ride. I hope I don't get any more crazy ideas. What will I think of next, posting flyers for INTERNATIONAL shows?!

Hmm... 

Upcoming Shows: Nationwide Edition

I'm going to try something new: Instead of focusing on New Mexico's local shows, I'm going to post flyers for shows throughout the country. Simply scroll down until you see your region, then check out what shows are coming to a bar/warehouse/slum near you. The U.S.A is a pretty big place, so this will be broken up into two parts: Part 1 will focus on the West and it's various sub-regions, and Part 2 will tackle the rest. You ready? Me neither. Let's do this.

West Coast:

Ghoul is fuckin' ace. The rest of the line up is pretty good too, but let's face it. Most of us would pay the $30  just to see Ghoul. 

So-Cal goes old-school. This show is happening in Ponoma, CA. Having never been there, I can't give you directions. I hope it's literally in a Glass House. 

Southwest: 

Holy crap, that's alot of bands in one day. I'm proud to say that Defleshment hails from my home state of New Mexico, and they have even been interviewed by Native Entertainment magazine. They will be sharing the stage with tons of talented bands at the Rocky Point Cantina in Tempe, Arizona.  Brutal Fest is happening this Saturday, so get your tickets before they sell out!

Speaking of Arizona, that's the place that Anomaly calls home. They will be playing at Warehouse 21, Santa Fe's only all-ages venue. I thought that this show was tomorrow, but since it's currently 2 A.M, I guess it's technically tonight!!

Later on, in the fine month of June, Warehouse 21 once again hosts an epic Metal show. Scalafrea from Colorado is one hell of a band, and Eat A Helicopter is Experimental DeathCore. Basically, if you come, expect some insane mosh pits. Not to mention the rest of the line up, which is comprised entirely of shredders.

This one is in Albuqurque's own Hooligans nightclub. Once again, the line up is pretty righteous, but I have a feeling that Torn Between Worlds will be the band that draws a crowd like moths to a flame. 

Torture Victim is releasing their new album! It's about damn time, too. Not for the faint of heart, lest you have a faint heart attack. 

Northwest:

This beast of a concert will take place in Studio Seven of Seattle, Washington. Fun Fact: Seattle is also home to the brilliant Stoner-Metal group Serial Hawk!

Midwest:

Goat Entertainment presents Shawn Whitaker at The What's Up Lounge in Mankato, Minnesota. I wish I could post more flyers in this region, but it took me about an hour just to find this gem. 

Wow, this is harder than I thought. And I'm not even half-way done! Iron-clad deals suck. Stay tuned for Part 2: Eastern America.