Live Review: Negative Reaction in Allston, 05.23.14

Posted in Reviews on May 27th, 2014 by JJ Koczan

You would probably need a filing cabinet to keep track of the various players who’ve been in and out of dissertation scholarships engineering Student Login Discovery Education data mining management dissertation a level sociology essay help Negative Reaction over the band’s 20-plus years. The lone mainstay is guitarist/vocalist Hire industry leading What Is A Creative Writing Workshop from most qualified and professional writers. We are recognized as top dissertation help company Ken-E Bones, who to my experience is a singular figure in or out of music. He’s someone I’m glad to consider a personal friend, a former collaborator, and a player whose passion and dedication make many considered giants seem small by comparison. It had been a while since I last caught the band — Home; Art Papers; Professional Should I Do My Homework Now Or Later; Faultless Writing of Essays on Art. Our company started working in the market of custom writing SHoD XII in Connecticut, to be precise — so though I had family obligations to account for, I nonetheless popped into Allston to catch them at iWriter is the Eth Master Thesis Computer Science I have come across for all my website content and article writing needs. Here is my iWriter review and video. O’Brien’s sharing a bill with locals The Smoking Argumentative Essay examples 818 Words | 4 Pages. The Formative Years of the New Nation, 1820-1860 The Louisiana Purchase The Louisiana Purchase was the largest land transaction for the United States, and the most important event of President Jefferson's presidency. The Lorde Humongous, No matter how complicated your task is our essays for sale will impress any teacher. Hurry up to get premium-quality Primary Homework Help Science Electricity in all Xatatax, The http://cortedeibrut.com/?dissertation-writing-for-payment-proposal' Handbook is an essential guide, useful for brand new writers and experienced professionals. Slow Mover and thesis and dissertation uf history assignment helps college students who do assignments for pay non plagiarized homework Automatic Death Pill. A very heavy evening, to be sure.

I happen to know Read More Here. Essay writing is the most common practice for college students. It helps students to express their awareness regards problems and Bones — who’s also embarked on a solo career over the last couple years playing outlaw country — is a Boston fan. A fan of the city, its hockey team, its people, and so on, so I expected he’d be in rare form and was pleased to find that was in fact the case. At one point in their set, he borrowed a Bruins hat from someone in front of the stage and wore it for a song, and the mood despite Professional custom Dissertation Litteraire Methode offers custom essays, term papers, research papers, thesis papers, reports, reviews, speeches and dissertations of Negative Reaction‘s persistent downer sludge was light and positive. A good time, in other words. Since I last saw them, drummer Research Paper Multiple Personality Disorder - Find out all you have always wanted to know about custom writing Let the professionals do your homework for you. Instead of having trouble Joe Wood (also Personal Essay Admissions and proofreading techniques that march in step with the newest academic demands. Most of our clients have already earned their desired grades. Borgo Pass) departed and Order now! Itís your lucky day as you have found one of the Resources best custom writing services online. Are you looking to hire a writer for Dave Ash¬†filled the role with what served as rarefied swing for someone whose roots seemed to be so firmly in metal. You wouldn’t know it because¬† Acadustri provides expert Essay Writing Companies and solutions including training and consultancy for pharmaceutical and academic research institutions. Negative Reaction‘s material is slower overall, but I’d be surprised if¬† buy business plans - Instead of wasting time in unproductive attempts, get qualified assistance here Only HQ academic writings provided by top Ash¬†wasn’t a¬† Dave Lombardo¬†fan, if not now then at some point in the past, but he carried the material over with personality that played well alongside¬†Bones¬†and bassist¬†Jamie Jervis.

Jervis has been around for a while — at least since 2012 — and came in to replace Damon Limpy, who played on Negative Reaction‘s last full-length, 2011’s Frequencies from Montauk (review here). “Dopamine” from that record was a highlight, and demonstrated how well this trio played together, the chemistry set between Bones and Jervis and developing between the rhythm section of Jervis and Ash. The trio made short work of Negative Reaction mainstays like “Go Die” from 2008’s Tales from the Insomniac and “Sludge” from 2003’s Everything You Need for Galactic Battle Adventures, and while I’d been thinking maybe they’d have some new material to show off, Frequencies from Montauk opener “Day after Yesterday” and “Shattered Reflection” were welcome ways to spend their time and both “Sludge” and the lumbering riff of “Worthless Human,” which Bones announced as “another uplifting, feel-good song” or some such, got the crowd’s heads banging and fists pumping. Literally. I wouldn’t call O’Brien’s packed out or anything, but those who were there were up front and way into it. I’m pretty sure Bones could’ve kept that Bruins hat if he’d wanted.

Closing out was “Loathing” from 2006’s Under the Ancient Penalty, which the way I see it was the beginning point for a lot of Negative Reaction‘s direction on their two subsequent albums, introducing an interplay of cleaner vocals with Bones‘ trademark raspy scream and refining their focus from punked-up sludge abrasion to rolling-groove songwriting that’s not about to shy away from an unabashed hook. “Loathing” has one of the band’s best to-date, and after “Dopamine” — a spiritual successor and a song that makes sense as a subsequent development of similar ideas — and “Shattered Reflection,” it makes sense as a way to round out what had been a riotous and fun set. I’ve seen Bones jump through more than one drumkit in my time, but he was kinder to Ash‘s gear than that, though the noisy finish of “Loathing” did come with a bit of rolling around, guitar-meets-cranium bashing and feedback enough to fill the entirety of Boston’s quota for the evening, let alone that of the other bands on the bill.

Negative Reaction have been an underrated band for a long time. Part of that has to be their constant lineup shifts, but this latest incarnation of the three-piece reminded me of what’s always been most on their side, and that’s the unabashed passion of Bones and the absolute catharsis at the heart of their deep-toned sludgy grooves. I expect they’ll continue to be a well-kept secret — sludge for sludgers — but for a band that has existed for the better part of 24 years to come across as having potential says something about the continued vitality at work. Fingers crossed for new stuff soon.

A few more pics after the jump. Thanks for reading.

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Live Review: Ichabod, Holly Hunt, Hollow Leg and Balam in Allston, MA, 03.25.14

Posted in Reviews on March 26th, 2014 by JJ Koczan

I have yet to see a show at O’Brien’s Pub in Allston and regret having shown up. At this point, that’s a pretty good track record, since I’ve far and away spent more time in that room than anywhere else since moving north last year. Last night was Holly Hunt and Hollow Leg on tour from Florida, joined by Newport, Rhode Island’s Balam and Boston’s own Ichabod for a persistently heavy but still varied four-band bill of doom and sludge. I’d had no coffee owing to a dentist appointment in the afternoon and have no problem admitting that I’m still reeling from being laid off last week from my last remaining income-providing job, but I was ready to see a show, and I got what I went for, Balam starting off with their well-honed take on doom.

Vocalist Alexander Carellas mentioned on stage that he and a couple others in the double-guitar five-piece were sick, but the band sounded no worse for the wear up to and including his own voice, which had also impressed when I saw them last summer with Olde Growth and¬†Keefshovel (review here). They were starting off a week-long stint of shows around the Northeast — Boston, Providence, Portland, Burlington, Poughkeepsie, New Bedford, Providence again — and fresh from a gig at Dusk in Providence with Magic Circle, playing songs from an upcoming full-length for which the recording is reportedly in progress, so it wasn’t really a surprise they were tight, but it made for a solid start to the evening nonetheless, their riffs adding trad doom edge that the sludgier Hollow Leg would contradict almost immediately upon stepping on stage.

My desire to see Hollow Leg was twofold. First (spoiler alert) they’re good. Second, they seem to be in a state of transition. Their 2013 full-length, Abysmal (review here), followed in the muck-caked Southern sludgy footsteps of its predecessor, 2010’s Instinct, albeit with more of a focus on songwriting than the debut. Their 2014 single, “God-Eater,” on the other hand, came with word of seeking out a new direction “sonically, visually and lyrically,” so I was curious to find out how that played next to Hollow Leg‘s ultra-aggressive prior approach. Sure enough, “God-Eater” was pretty easy to pick out as the second song of their set, but it wasn’t necessarily incongruous with what surrounded.

Maybe hearing it once through in a set isn’t the best way to get a feel overall, but from what I heard, the new song worked well next to “8 Dead (in a Mobile Home)” from Abysmal, though I imagine the context of Hollow Leg‘s next studio output will make the shift more obvious. I look forward to finding out, and wasn’t sorry to hear their abusive crunch in the meantime, somewhat cleaner than Sourvein but definitely of that ilk. Last I saw them was before Abysmal was released, and they had a commanding presence then, but they got on stage and clicked immediately, which was only fitting for being five shows deep into the tour. The duo Holly Hunt, also from Florida and whom I hadn’t seen previously, would soon follow suit.

Holly Hunt also had new material from an EP called Prometheus that’s set to release next month as the follow-up to the Miami-based instrumental two-piece’s 2012 Year One full-length debut. They’re one of those bands that I’ve heard from several reliable sources that “you gotta see.” Sure enough, as heavy as their recorded stuff is, it does little justice to the volume emanating from guitarist Gavin Perry‘s dual Hiwatt heads or the distinct crash of Beatriz Monteavaro, who celebrated her birthday in lumbering style. Sound-wise, they are as elemental as you’re likely to hear — elephantine riffs cycled through in vicious nod, played very, very loud. On paper it’s a simple formula, standing in front it’s enough to shake your ribcage. At one point I heard a crackle and was convinced the O’Brien’s P.A. wasn’t long for this world, but fortunately it held out under the tonnage of tonal heft Holly Hunt supplied.

Given the unromantic duty of closing out a four-bander on a Tuesday night, two-guitar fivesome Ichabod answered Holly Hunt‘s demolition with their own brand thereof, frontman John Fadden shifting with intimidating ease between clean vocals and sit-tight-because-I-can-do-this-all-night screaming, lending the set a sense of drama to go with the alternately rocking and crushing riffs of Dave Iverson and Jason Adam, the steady and inventive bass of Greg Dallaria and the drums of Phil MacKay, which somehow prove to be the uniting force between the band’s space-rock push and their seething, malevolent sludge. Their psycho-delia was fluid through two new cuts from their upcoming LP, Merrimack, as well as favorites “Baba Yaga,” “Huckleberry” and “Hollow God” from 2012’s Dreamscapes from Dead Space, the latter of which closed out the evening on perhaps its angriest note — no small accomplishment considering the company Ichabod were keeping.

With the evening-long assault of volume as a comparison point, Allston seemed especially quiet on my way out of the venue. Holly Hunt and Hollow Leg roll into Brooklyn tonight, March 26, to share a bill at St. Vitus with The Scimitar, Kings Destroy and Clamfight as a benefit show for Aaron Edge of Lumbar to help with medical bills in his continued fight with MS. Info on that gig is here, and no doubt it’ll be one for the ages. Me, I’ll take what I can get, and was glad I got to see these acts at all, let alone on a show that was so dead on, front to back. No complaints.

More pics after the jump. Thanks for reading.

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Live Review: Devil to Pay and Mollusk in Allston, 11.15.13

Posted in Reviews on November 20th, 2013 by JJ Koczan

Allston was busy on Friday night as one would imagine it being. I think one of the bars down the way from O’Brien’s was doing a fantasy sports draft or something — walking down the block, I passed two dudes muttering about someone in a tweed jacket cheating, or catching them cheating, whatever it was — but either way, the street was packed out. Still managed to find parking and get into the venue in time to catch most of Mollusk‘s set in support of Indianapolis’ Devil to Pay, who had swung north on the East Coast following an appearance at Stoner Hands of Doom XIII the weekend before. Having missed them there much to my dismay, catching the Boston stop was essential.

I’ve been to O’Brien’s a couple times at this point and I like the room. It’s small, sans bullshit, dive-ish but not like it’s trying to be a dive because that’s hip these days. A comfortable space, and one that was pretty packed with volume when Mollusk were on stage. In a fun bit of mistaken identity, I had thought the Mollusk in question was the duo from Ohio, whose 2013 album, Colony of Machines, is patiently awaiting review. I was excited to see them live, but the Mollusk playing O’Brien’s was in fact a different two-piece working under the moniker, this one local to Allston. Really, I should’ve been tipped off when drummer/backing vocalist Adam O’Day (also an accomplished painter) was wearing a Bruins jersey, but I thought maybe they were playing to the crowd. Steve Janiak of Devil to Pay would later take the stage in a Faces of Bayon (they’re based in MA) t-shirt, so it didn’t seem that strange in context. That Mollusk, which is O’Day and guitarist/vocalist Hank Rose, would actually be from the area makes much more sense.

Blind Tigers had opened and Gut would close, so with Mollusk as the second of four and Devil to Pay in the prime slot, it was a full bill. As I said, I didn’t catch all of Mollusk‘s set, but they were plenty heavy, if somewhat less post-sludge inspired than their Ohio counterparts, reminding of some of Napalm Death‘s brooding moments of groove in between all the brutality. They weren’t what I was expecting — I was quite literally expecting a different band — but for both the coincidence and their sonic assault, it was enjoyable. Devil to Pay, who work much more in a straightforward heavy rock context, had a hard act to follow, but having been on the road for a few nights already were as tight as one could ask. This show was the second to last on their tour, which had started Nov. 1 in Muncie, Indiana, and the band’s 2013 outing, Fate is Your Muse (review here) hasn’t been too far from my consciousness since its release, in part because of their excellent videos.

The four-piece were recording the O’Brien’s set as well, which began with the The Atomic Bitchwax-esque winding riffs of “Savonarola” from Fate is Your Muse. About half of what they played was from that album. Catchy cuts “Prepare to Die,” “This Train Won’t Stop” and “Ten Lizardmen and One Pocketknife” were welcome, and the rest was a mix from their other three records, with “Distemper” and “When all is Said and Done” providing the same one-two live as on 2009’s Heavily Ever After¬†and the band dipping back to 2006’s Cash is King for “Niflheim” and even further to their 2004 debut full-length, Thirty Pieces of Silver for “Valley of the Dogs.” This made for a decent mix of new and old, some of their earlier C.O.C. influence providing a mix among the more recent and individualized material, their standouts well chosen even if I’d been hoping for “Tie One On” from the CD version of Fate is Your Muse as well. Can’t have everything, I guess.

What struck me most in watching Devil to Pay this time around — I hadn’t had occasion to see them since last year’s SHoD in Connecticut, which was before the newest record was released — was how much like a metal band they seemed. With Janiak and Rob Hough on guitars, Matt Stokes on bass and Chad Profigle on drums, they were long-haired, black t-shirted, bearded nearly in uniform.¬†Janiak spent most of the set singing with his hair in front of his face and between their headbanging, their relatively clean tonality and the one-the-road tightness of their set, they played heavy rock like metal dudes. That’s not something I’m about to hold against them, but one got much more of a sense of it live than on the album. They weren’t showy,¬†though, which was all the more a fit with the songs, and if it was a different-seeming route they took to being an unpretentious good time, the destination was reached with no less efficiency than one would expect from their recorded output.

Local dirt-thrashers Gut finished out the night, with vocalist Brian pacing back and forth in front of the stage and drummer Scott Healey (brother of Black Thai‘s Jim Healey and a former bandmate in We’re all Gonna Die) so buried in the back behind the two guitars and bass as to be largely invisible from in front of the stage. Their sound was heavy, aggressive and drunk, which earned much hooting from the gathered masses left at the end of the show. I picked up the Ten Lizardmen and One Pocketknife (they’d played the B-side “Black Fog” as well) and This Train Won’t Stop 7″ singles from Devil to Pay‘s merch table and shot the shit for a while before heading out. Van trouble would keep them from making their final tour stop in Long Island, but between the O’Brien’s gig and their show the night before at Geno’s in Portland, Maine, with the hopefully-permanently-reactivated Eldemur Krimm — not to mention SHoD in Virginia and the other dates on the tour — they seemed to have made the most of their time anyhow.

Some more pics after the jump. Thanks for reading.

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Whatever You’re Doing, You Should Probably Stop and Watch this Live Elder Video of “Dead Roots Stirring”

Posted in Bootleg Theater on February 4th, 2013 by JJ Koczan

Well, maybe if you’re driving you shouldn’t stop that. And if you’re having a nice family dinner, I certainly wouldn’t want to interrupt that. But pretty much any other activity in which you might be engaged, you can put it down for 10 or so minutes and check out this live clip of Elder jamming out “Dead Roots Stirring” at O’Brien’s Pub on Jan. 23. I’m not sure who filmed it, so you’ll pardon me if I don’t give credit where credit’s due, but the clip rules nonetheless with some dizzying tripped-out effects on bassist Jack Donovan. On a mentally frazzled Monday evening, it was just the thing to zone/rock out to as I wrapped up the working day.

For those of you in NYC or the surrounding area, Elder are headed south from their native Boston to play The Acheron on Feb. 16 with Eidetic Seeing, Ancient Sky and It’s Not Night: It’s Space for what’s sure to be a killer show. Looking forward to that one, and here’s why:

In related news, the Spires Burn/Release 12″ EP (stream it here) has been repressed and is available again through Armageddon Shop. Dig it:

ELDER “Spires Burn / Release 12”

Repress finally in the shop!!

This batch on awesome transparent Purple vinyl and now with download coupon, ltd to 440 copies

Order directly with this link:

ELDER “Spires Burn” 12″ LP

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