Some might recognize artist Tom Denney from his contributions to the band I, Klatus or his Doomed Messiah video ‘zine series, but he’s also done graphics for a slew of t-shirts, album covers and even stage animations. This week’s Wino Wednesday clip is the Denney animation used for Saint Vitus‘ 2010 European tour, set to the song “Dying Inside” from 1986′s mega-classic Born too Late.
Now, if there’s one track that’s been featured the most for Wino Wednesday, it’s probably “Dying Inside.” Look for yourself. On multiple occasions throughout the 80-someodd weeks we’ve had it going, “Dying Inside” has been posted several times, but I figure I probably won’t hear any complaints, what with the song kicking ass and this being a different context. If you don’t like it, wait a week and I’ll come up with something else.
Denney‘s work almost always has a dark, psychedelic feel to it, and this clip is no exception. There’s a plug at the end for his website (tomdenney.com) and it’s definitely worth checking out if you get the chance and have an interest in the visually fucked up and want to see designs for the likes of Cannibal Corpse, High on Fire, The Midnight Ghost Train, Cephalic Carnage and a ton of others across a wide spectrum of heavy.
In the meantime, here’s the “Dying Inside” animation. Hope you dig and have a great Wino Wednesday:
Saint Vitus, “Dying Inside” stage animation by Tom Denney
Quite possibly my favorite part about doing Wino Wednesday each week — apart from all the money and ladies I get from it — is that it’s never too long before something new comes along. To wit, Saint Vitus are currently on a European run alongside Mos Generator – let’s not forget it was Mos guitarist/vocalist Tony Reed who produced Vitus‘ 2012 triumph, Lillie: F-65– and video has started to surface from the shows. This is invariably a good thing, however blown out that video might sometimes sound.
Before starting off “The Bleeding Ground” from Lillie: F-65(review here) — this version recorded March 9 in Paris at La Maroquinerie — guitarist Dave Chandler gets on mic (as he often does between songs) to inform the crowd that, “This is a true story, about a bitch named Katrina.” As we discussed when I interviewed him last year for the record, Chandler has been living in New Orleans since a couple months before Hurricane Katrina hit in August 2005, and while the mere mention of the name at this point serves as a reminder to American ears, I’m not sure it would have the same effect on a Parisian audience.
Ultimately, it doesn’t really matter, because once Vitus start into “The Bleeding Ground,” the song absolutely crushes. Vitus have a new official-bootleg-type live album out vinyl-only called Marbles in the Moshpit that I should probably pick up, of a show recorded in 1984 with the original lineup. As you can see in the clip below, even 29 years later, the band still kills it with the new material. Awesome to think of them at this point as having made the transition past the “reunion band” thing and just putting in the work of a touring act. Any way you take it, they’re one of the best doom bands in the world.
Enjoy and have a great Wino Wednesday:
Saint Vitus, “The Bleeding Ground” Live in Paris, March 9, 2013
I don’t know if it actually is, but this show probably should be something of a legend. On May 16, 1986, Saint Vitus played the Palm Springs Community Center in — you guessed it — Palm Springs, California. It was their first gig with new vocalist Scott “Wino” Weinrich, still months before that lineup — Wino, guitarist Dave Chandler, bassist Mark Adams and drummer Armando Acosta – would release the pivotal Born too Late, which has arguably become one of the most influential American doom albums released, though they’re anything but shaky. The six-song set reportedly went like this:
Prayer for the (M)asses
Also on the bill was Across the River, whose lineup featured Mario Lalli (of Yawning Man/Fatso Jetson) with Alfredo Hernandez (of Yawning Man)and Scott Reeder (later of The Obsessed and Goatsnake), both of whom would later join Kyuss. It was reportedly also Reeder‘s 21st birthday, but just to have so many crucial figures in doom and desert rock playing one show is mind-boggling. And one better? The dude filming the show was Larry Lalli, who in a few more years would be playing bass in Fatso Jetson. One can only assume a young Brant Bjork was in the crowd somewhere, getting ideas and scratching his teenaged peach-fuzz of a beard.
The whole set is up for streaming, as well as a cut or two from Across the River, should you feel like going searching, but in picking a single track, I decided to go with “Prayer for the (M)asses” precisely because it’s probably not as recognizable as the other stuff they played that night. Hell, I’m pretty sure Vitus is still playing that other stuff on tour. On the other hand, tucked away as the closer of 1985′s Hallow’s Victim, “Prayer for the (M)asses” has hardly had the same kind of reverence paid to it as the rest of the setlist.
Most notable for its lyrics, which I admit are barely audible in the video (hey, it was 1986), “Prayer for the (M)asses” was almost a line-for-line rewrite of Black Sabbath‘s Christian metal precedent-setting “After Forever.” So much so that “Have you ever thought about your soul and can it be saved?” became “Or else with your stupid soul you will have to pay,” and the lines were set to a riff close enough to that of the band’s eponymous song, “Saint Vitus,” that putting the two next to each other in a live setting, one might’ve thought it was simply a different part of the same piece.
Maybe “Prayer for the (M)asses” isn’t one for the greatest hits collection, but at least in the video below, it was part of a pretty special show. Kudos to Larry Lalli for capturing it, since this kind of thing should be in a museum somewhere. At least playing in a bar. I’d have sworn the video of this show came out with the Southern Lord reissue of Vitus‘ aptly-named 1990 live album, Live, but I don’t have the disc on hand to check. In any case, enjoy and have a great Wino Wednesday:
Yeah, it hasn’t been that long since the last time I had Saint Vitus‘ “Dying Inside” as the Wino Wednesday pick, but there are two key differences: One, this clip of the song, which was filmed during a New Orleans warmup show prior to their leaving to play Roadburn in 2009, features guest vocals in the chorus by Down frontman Phil Anselmo (he used to be in some metal band as well, I can’t remember). Two, whatever, it’s Saint Vitus. A second reason need not apply.
Though if you actually want one, another reason to highlight this clip specifically is for drummer Armando Acosta. The number of shows he played with Vitus upon their resurgence in ’09 was few, just the European run that included Roadburn and one or two warmups beforehand. By the time they came through New York in the fall, Acosta was out and Henry Vasquez was in. The reason I didn’t point it out initially though is that the video itself is pretty dark and Acosta can barely be seen. Still, he’s there and you can hear him no problem — as, I’m sure, could people three blocks down the way from One Eyed Jacks in New Orleans, where this gig took place.
And of course, “Dying Inside” is just one of several anthems from 1986′s Born too LateLP, along with the title-track and “The War Starter.” Wino‘s first release with the band in place of vocalist Scott Reagers is one of the all-time most classic albums in doom, so yeah, looking for excuses to post a song from it is probably pointless to begin with. Happy Wino Wednesday:
Posted in Whathaveyou on January 7th, 2013 by H.P. Taskmaster
As if you needed an excuse to with you could be in Europe this spring, Saint Vitus are headed over for a three-week round of dates with Mos Generator. The connections between the two bands are manifold, with Mos Generator leader Tony Reed having produced Vitus‘ 2012 full-length, Lillie: F-65 (review here), and worked with drummer Henry Vasquez in his other band, Blood of the Sun on their own 2012 outing, Burning on the Wings of Desire (review here), so if nothing else, you can bet the vibes will be cordial.
All the better for Mos, whoseNomads(review here) is still fresh on the consciousness. Hard to imagine even the doomiest of Vitus devotee couldn’t be won over by their ultra-catchy heavy rocking. Here’s the poster for the Vitus tour, followed by a couple other dates Mos Generator will be playing between now and then. Dig it:
UPCOMING SHOWS MOS SHOWS 2013
1/12 coo coos nest – port angeles 1/18 rendezvous – port orchard 1/19 ash st. – portland 1/ 25 filling station – kingston 1/26 acme – tacoma 2/1 flights pub – everett 2/9 the breakroom – bremerton 2/23 club 21 – portland 3/1 chop suey – seattle
March 2013 – SAINT VITUS & MOS GENERATOR 5th Cologne, Germany @ Underground 6th Berlin, Germany @ C-club 7th Dresden, Germany @ Beatpol 8th Arnhem, Holland @ Willemeen 9th Paris, France @ La Maroquinerie 10th Vosselaar, Belgium @ Biebob 11th Brighton, England @ The Haunt 12th Southampton, England @ The Cellar 13th Birmingham, England @ O2 Academy 2 14th Glasgow, Scotland @ The Cathouse 15th Newcastle, England @ Northumbria Uni 16th Pwhelli, Wales @ Hammerfest 17th London, England @ The Garage 18th Rouen, France @ Le 106 19th Esch-sur-alzette, Luxembourg @ Kulturfabrik 20th Lyon, France @ Le Ninkasi Kao 21st Winterthur, Switzerland @ Salzhaus 22nd Vienna, Austria @ Szene 23rd Bologna, Italy @ Zr 24th Milano, Italy @ The Tunnel 25th Nürnberg, Germany @ Rockfabrik 26th Aschaffenburg, Germany @ Colos-sal 27th Hamburg, Germany @ Logo
Posted in Features on January 1st, 2013 by H.P. Taskmaster
Happy New Year to everyone around the world. It’s January 1, 2013, and to celebrate the New Year the best way I know how, I got right to work on tabulating the results of the 2012 Readers Poll. I’ve been tracking the results as they’ve come in over the course of December, and as you can see in the list below, it was a tight race for the top spot right up to the end.
Before we run down the finished list, I want to extend gratitude to each and every one of the 296 people who contributed their top 12 so this list could be put together. It’s an amazing response and I was super stoked that so many of you were able to take part. Thank you for that. Right from the first day the form went up, I knew this was going to be awesome, and it wound up exceeding my every expectation. It was a great sendoff to the year. Much appreciated.
Here are the results of the Top 20 of 2012 Readers Poll:
1. Om, Advaitic Songs – 108 votes
2. High on Fire, De Vermis Mysteriis – 106
3. Graveyard, Lights Out – 86
4. Neurosis, Honor Found in Decay – 65
5. Ufomammut, Oro – 63
5. Witchcraft, Legend – 63
6. Colour Haze, She Said – 56
6. Saint Vitus, Lillie: F-65 – 56
7. Kadavar, Kadavar – 49
7. Pallbearer, Sorrow and Extinction – 49
8. Orange Goblin, A Eulogy for the Damned – 46
9. Baroness, Yellow and Green – 39
10. Conan, Monnos – 38
11. Swans, The Seer – 35
12. Astra, The Black Chord – 31
13. Greenleaf, Nest of Vipers – 31
13. The Sword, Apocryphon – 31
14. Royal Thunder, CVI – 26
14. Wo Fat, The Black Code – 26
15. Ancestors, In Dreams and Time – 25
16. Torche, Harmonicraft – 23
17. Corrosion of Conformity, Corrosion of Conformity – 22
18. Enslaved, Riitiir – 19
19. Goat, World Music – 18
19. Melvins Lite, Freak Puke – 18
19. Soundgarden, King Animal – 18
20. Amenra, Mass V – 17
20. Samothrace, Reverence to Stone – 17
Witch Mountain, Cauldron of the Wild Rush, Clockwork Angels Stoned Jesus, Seven Thunders Roar Troubled Horse, Step Inside
Converge, All We Love We Leave Behind – 15 Mighty High, Legalize Tre Bags – 15 My Sleeping Karma, Soma – 15
Pretty wild to have Om and High on Fire so close, and they were tied for a long, long time, but Om retained an early lead and managed to pull it out in the end. As you can see, there were a number of releases that tied with others for their position. Seemed only fair to me to include all of them, and I also threw in those with 16 and 15 votes as well, just because it was close. In total, there were an astounding 1,200+ albums entered into consideration.
Once again, thanks to everyone for making this Readers Poll happen and for taking the time to be a part of it. Already looking forward to some fantastic things to come in 2013, so please stay tuned and keep your lists handy.
Posted in Features on December 20th, 2012 by H.P. Taskmaster
Please note: This list is my personal picks, not the Readers Poll, which is ongoing — if you haven’t added your list yet, please do.
As ever, I’ve kept a Post-It note on my wall all year long, and as the weeks and months have ticked away, I’ve added names of bands to it in preparation for putting together my Top 20 of 2012. There was a glut of excellent material this year, and I know for a fact I didn’t hear everything, but from bold forays into new sonic territory to triumphant returns to startling debuts, 2012 simply astounded. Even as I type this, I’m getting emails about new, exciting releases. It’s enough to make you lose your breath.
Before we get down to it and start in with the numbers, the hyperbole, etc., I want to underscore the point that this list is mine. I made it. It’s not the Readers Poll results, which will be out early in January. It’s based on how I hear things, how much I listened to each of these records, the impressions they left on me — critical opinion enters into it, because whether or not I want to I can’t help but consider things on that level when I listen to a new album these days — but it’s just as much about what I put on when I wanted to hear a band kick ass as it is about which records carried the most critical significance or import within their respective genres.
Over the last couple years, I’ve come to think of the #20 spot as where I put my sentimental favorite. That was the case with Suplecs last year, and in 2012, the return of Mos Generator earns the spot. The band being led by guitarist/vocalist Tony Reed, Nomadsmarked a rehifting of Reed‘s priorities from Stone Axe, with whom he’d proffered ’70s worship for several years prior, and wound up as a collection of some of my favorite heavy rock songs of 2012 — tracks like “Cosmic Ark,” “Torches” and “Lonely One Kenobi” were as strong in their hooks as they were thorough in their lack of pretense. But the bottom line is I’m a nerd for Reed‘s songwriting, playing and production (more on that to come), and at this point it’s not really something I can even pretend to judge impartially. Still, the record’s friggin’ awesome and you should hear it as soon as you can.
Seems like it would make sense to say Golden Void would be higher on the list if I’d spent more time with it — written up just a month ago, it’s the most recent review here — but the fact is I’ve sat with Golden Void‘s self-titled debut a lot over the course of the last month-plus, and I’ve been digging the hell out of it. Really, the only reason it’s not further up is because I don’t feel like I have distance enough from it to judge how it holds up over a longer haul, but either way, the Isiah Mitchell-led outfit’s blend of heavy psych, driving classic rock and retro style gave some hope for beefing up the US’ take on ’70s swagger — usually left to indie bands who, well, suck at it — and also showed Mitchell as a more than capable vocalist where those who knew him from his work in Earthless may only have experienced his instrumental side. A stellar debut, a wonderful surprise, and a band I can’t wait to hear more from in the years to come.
This was basically the soundtrack to my summer. From the catch-you-off-guard aggression in opener “I Spit on Your Grave” to the extended stoneralia of “Master of Nuggets” and the jammy “Southern Comfort and Northern Lights,” the follow-up to Wight‘s self-produced debut Wight Weedy Wight(review here) showed an astonishing amount of growth, and though it had the laid back, loose feel that distinguishes the best of current European heavy psych, Through the Woods into Deep Waterwas also coherent, cohesive and impeccably structured. I thought it was one of the year’s strongest albums when it was released, and its appeal has only endured — as much as I listened to it when it was warm over the summer, now in December I put it on wishing the temperature would change to match. The songs showed remarkable potential from the German three-piece and cast them in an entirely different light than did their first out. Really looking forward to where they might go from here, but in the meantime, I’m nowhere near done with Through the Woods into Deep Wateryet.
“Oh, Moon Queen! Flyin’ down the world on a moonbeam!” Somehow the first lines of the opening title-track to Lord Fowl‘s Moon Queen always seem to wind up stuck in my head. The Connecticut foursome made their debut on Small Stone with the loosely thematic full-length, and touched on a sense of unabashedly grandiose ’70s heavy rock in the process. That said, Moon Queenwasn’t shooting for retro in the slightest — rather, guitarist/vocalists Vechel Jaynes and Mike Pellegrino fronted the band’s classic sensibilities with a wholly modern edge, like something out of an alternate dimension where rock never started to suck. The classic metal guitar in “Streets of Evermore” and the swaying groove from bassist Jon Conine and drummer Don Freeman under the wandering leads of “Hollow Horn” made Moon Queenmore stylistically diverse than it might otherwise have been, but at its core, it was a collection of stellar heavy rock songs, unashamed of its hooks and unafraid to put its passions front and center. They packed a lot into a 47-minute runtime, but I’ve yet to dig into Moon Queen and regret having pressed play. Another band to watch out for.
It was impossible not to be swept up in the hype surrounding Pallbearer‘s Profound Lore debut, but one listen to Sorrow and Extinctionand it was clear that its resounding praise was well earned. By blending thickened psychedelic tonality and emotionally resonant melodies, the Little Rock, Arkansas, four-piece concocted the single most important American doom release of the year. Their efforts did not go unnoticed, and as they supported the album on tour, the swell of the crowds spoke to the right-idea-right-time moment they were able to capture in songs like the stunning “An Offering of Grief” and “The Legend.” There’s room for growth — I wouldn’t be surprised to find guitarist Brett Campbell‘s vocal range greatly developed next time out — but Pallbearer have already left a mark on doom, and if they can keep the momentum going into wherever they go from here, it won’t be long before they’re being cited as having a significant impact on the genre and influencing others in their wake.
I already singled out Kadavar‘s Kadavaras the 2012 Debut of the Year, so if you need any sense of the reverence I think the German trio earned, take whatever you will from that. There really isn’t much to add — though I could nerd out about Kadavar‘s ultra-effective retroisms all day if you’re up for it — but something I haven’t really touched on yet about the record: When I was out in Philly last weekend, the DJ cleverly mixed Kadavar into a set of early ’70s jams, and it was all but indistinguishable in sound from the actual classics. That in itself is an achievement, but Kadavar‘s level of craft also stands them out among their modern peers, and it was drummer Tiger‘s snare sound that I first recognized in “All Our Thoughts,” so right down to the most intricate details, Kadavar‘s Kadavarwas a gripping and enticing affair that proved there’s still ground to cover in proto-heavy worship.
The fuzz was great — don’t get me wrong, I loved the fuzz — but with Stubb‘s Stubb, it was even more about the songs themselves. Whether it was the interplay between guitarist Jack Dickinson and bassist Peter Holland (also of Trippy Wicked) on vocals for the chorus of “Scale the Mountain” or the thickened shuffle in “Soul Mover” punctuated by drummer Chris West‘s (also Trippy Wicked and Groan) ever-ready fills, there wasn’t a clunker in the bunch, and though it’s an album I’ve basically been hearing since the beginning of the year, its appeal has endured throughout and I still find myself going back to it where many others have already been forgotten. With the acoustic “Crosses You Bear” and more laid-bare emotionality of “Crying River,” Stubb showed there was more them than excellence of tone and with the seven-minute finale “Galloping Horses,” they showed they were ready to jam with the best. Truly memorable songs — and also one of the live highlights of my year.
Orange Goblin‘s purpose seemed reborn on their seventh album and Candlelight Records debut, A Eulogy for the Damned. Culling the best elements from their last couple albums, 2007′s Healing Through Fire and 2004′s Thieving from the House of God, the long-running London troublemakers upped the production value and seemed bent from the start on taking hold of the day’s sympathy toward their brand of heavy. With tales of alcoholic regret, classic horrors and a bit of cosmic exploration for good measure, they marked their ascent to the top of the British scene and took well to the role of statesmen, headlining Desertfest and proceeding to smash audiences to pieces around the continent at fests and on tours. Look for them to do the same when they bring the show Stateside in 2013 with Clutch. Their plunder is well earned, and I still rarely go 48 hours without hearing the bridge of “The Fog” in my head. Can’t wait to see them again.
While I still miss Los Natas, my grief for their passing has been much eased over the last two years by frontman Sergio Chotsourian‘s doomier explorations in Ararat. The first album, 2009′sMusica de la Resistencia(review here), ran concurrent to Los Natas‘ swansong, Nuevo Orden de la Libertad, but with II, the new three-piece came into their own, setting space rock synth against low-end sprawl, thick drumming and Chotsourian‘s penchant for experimenting with structure. Extended tracks “Caballos” and “La Ira del Dragon (Uno)” were positively encompassing, and showed Ararat not only as a distinct entity from Los Natas, but a turn stylistically for Chotsourian into elephantine plod, wide-open atmospherics and a likewise expansive creative sensibility. The acoustic “El Inmigrante” and piano-led “Atenas” offered sonic diversity while enriching the mood, and closer “Tres de Mayo” hinted at some of the melding of the various sides that might be in store in Ararat‘s future. If the jump from the first record to the second is any indicator, expect something expansive and huge to come.
Italian cosmic doom meganauts Ufomammut outdid themselves yet again with Oro, breaking up a single full-length into two separate releases, Oro: Opus Primum and Oro: Opus Alter. But the album — which I’ve decided to list as the single entity Oro rather than its two component parts basically to save myself some brain space — was more than just big in terms of its runtime. More importantly, Ufomammut were able to hold firm to their commitment to stylistic growth, drawing on their greatest triumph yet, 2010′s Eve (review here), the trio pushed themselves even further on their Neurot Recordings debut, resulting in an album worthy of the legacy of those releasing it. I don’t know if Oro will come to define Ufomammut as Eve already seems to have — dividing it as they did may have made it harder for listeners to grasp it as a single piece — but it shows that there’s simply no scaring the band out of themselves. Brilliantly tied together around a central progression that showed up in “Empireum” from Opus Primumand “Sublime” on Opus Alter, I have the feeling Ufomammut will probably have another album out before Oro‘s breadth has fully set in.
Behold the standard bearers of heavy. It wasn’t long after hearing UK trio Conan for the first time that I began using them as a touchstone to see how other bands stacked up, and to be honest, almost no one has. Led by the inimitable lumber provided by the tone of guitarist/vocalist Jon Davis (interview here), Conan stripped down their approach for Monnos, returning to Foel Studio in Wales to work with producer Chris Fielding — who’d also helmed their 2010 Horseback Battle HammerEP — and the resulting effort was both trim and humongous. Early tracks like “Hawk as Weapon,” “Battle in the Swamp” (an old demo given new life) and “Grim Tormentor” actually managed to be catchy as well as sonically looming, and the more extended closing duo of “Headless Hunter” and “Invincible Throne” showed that Conan could both use their tone to build forward momentum and plod their way into ultra-slow, ultra-grim despairing nothingness. Monnos affirmed Conan as one of the most pivotal acts in doom, and with new material and a home studio reportedly in the works, as well as further European touring on the docket for early 2013, their onslaught shows no signs of letting up. Right fucking on.
In some ways, it seems like the easiest thing in the world, but with My Sleeping Karma‘s fourth full-length, Soma, it really was just a question of a band taking their sound to a completely new level. The German heavy psych instrumentalists brought forth the sweetness of tone their guitars have harnessed over the course of their three prior offerings, but the progressive keyboard flourishes, the warmth in the bass, the tight pop of the drums — it all clicked on Somain a way that the other records hinted was possible and made the album the payoff to the four-piece’s long-established potential. Wrapped around the titular theme of a drink of the gods and with its tracks spaced out by varying ambient interludes, no moment on the album felt like it wasn’t serving the greater purpose of the whole, and the whole proved to be a worthy purpose indeed. Hands down my favorite instrumental release of the year and an effort that pushed My Sleeping Karma to the front of the pack in the crowded European heavy psych scene.
The damnedest thing happens every time I turn on Graveyard‘s third album, Lights Out, in that before I’m halfway through opener “An Industry of Murder,” I have to turn it up. The reigning kings of Swedish retro heavy wasted no time following up 2011′s stunning sophomore outing, Hisingen Blues(review here), and with the four-year gap between their self-titled debut and the second record, it was a surprise from the moment it was announced, but more than that, Lights Outshowed remarkable development in Graveyard‘s sound, offering elements of classic soul on songs like “Slow Motion Coundown” and “Hard Times Lovin’” to stand alongside the brash rock and roll of “Seven Seven” or the irresistible hook provided by “The Suits, the Law and the Uniforms” or the single “Goliath.” A landmark vocal performance from guitarist Joakim Nilsson and newly surfaced political bent to the lyrics hinted that Graveyard were nowhere near done growing, but seriously, if they put out four or five more records in the vein of Lights Out, I doubt there’d be too many complaints. Already one can hear the influence they’ve had on European heavy rock, and Lights Outisn’t likely to slow that process in the slightest.
Three drum hits and then the lurching “Let Them Fall” — the leadoff track on the first Saint Vitus studio album since 1995 — is underway, and it’s exactly that lack of pomp, that lack of pretense, that makes Lillie: F-65so righteous. Admittedly, it’s a reunion album. They toured for a couple years playing old material, then finally decided to settle in and let guitarist Dave Chandler (interview here) start coming up with a batch of songs, but you can’t argue with the results. They nailed it. With Tony Reed‘s perfect production (discussed here), Vitus captured the classic tonality in Chandler‘s guitar and Mark Adams‘ bass and kept to their sans-bullshit ethic: A short, 33-minute album that leaves their audience wondering where the hell that assault of noise just came from. Scott “Wino” Weinrich‘s presence up front was unmistakable with Chandler‘s punkish, no-frills lyrics (as well as his own on “Blessed Night,” the first song they wrote for the album), and drummer Henry Vasquez not only filled the shoes of the late Armando Acosta but established his own persona behind the kit. I hope it’s not their last record, but if it is, Saint Vitus came into and left Lillie: F-65as doom legends, and their work remains timeless.
Talk about a band who shirked expectation. Guitarist/vocalist Justin Maranga and I discussed that aspect of Ancestors a bit in an interview over the summer, but it’s worth underscoring. There was next to nothing in either of Ancestors‘ first two albums to hint at where they’d go with the third. Both Neptune with Fire and Of Sound Mind(review here) were rousing, riff-led efforts that headed toward a particular heavy sensibility, but it was with last year’s Invisible WhiteEP (review here) that the L.A. outfit began to show the progressive direction they were heading. And In Dreams and Timeis even a departure from that! It’s kind of a departure from reality as well, with the Moog/organ/synth mesh from Matt Barks and Jason Watkins (also vocals), dreamy basslines from Nick Long and hold-it-all-together drumming of Jamie Miller — since out of the band. Closer “First Light” was my pick for song of the year, and had the album been comprised of that track along, it’d probably still be on this list somewhere, but with the complement given to it by the piano sprawl of “On the Wind” and driving riffs and vocal interplay of “Correyvreckan” (if you haven’t heard Long‘s bass on the latter as well, you should), there was little left to question that this was the strongest Ancestors release of their career to date and hopefully the beginning of a new era in their sound. They’ve never been what people wanted them to be, but I for one like not knowing what to expect before it shows up, at least where these guys are concerned.
After what I saw as a lackluster production for 2010′s Snakes for the Divine, Oakland, CA, trio High on Fire aligned themselves with producer Kurt Ballou (Converge) for De Vermis Mysteriis and completely renewed the vitality in their attack. Built on the insistence of “Bloody Knuckles,” furious fuckall of “Fertile Green,” unmitigated piracy of “Serums of Laio” and eerie crawl in “King of Days,” De Vermis Mysteriis was both aggressive in High on Fire‘s raid-your-brain-for-THC tradition and extreme in ways they’ve never been before. Groovers like the instrumental “Samsara” and earlier “Madness of an Architect” offered bombast where the thrash may have relented, while “Spiritual Rites” proved that guitarist/vocalist Matt Pike (also Sleep; interview here), bassist Jeff Matz and drummer Des Kensell had arrived at a new threshold of speed and intensity. Whatever personal issues may have been in play at the time, High on Fire delivered a blistering full-length that stands up to and in many ways surpasses any prior viciousness in their catalog, and their level of performance on their current tour makes it plain to see that the band is ready for ascendency to the heights of metal. They are conquerors to the last, and if De Vermis Mysteriisis what I get for wavering, then I’ll consider my lesson hammered home in every second of feedback, tom thud and grueling second of distortion topped with Pike‘s signature growl.
When I interviewed interviewed Steve Von Till about Honor Found in Decay, the Neurosis guitarist/vocalist called the band “a chaos process” in reference to their songwriting. I have no trouble believing that, because while Neurosis stand among the most influential heavy metal bands of their generation — having had as much of an effect on what’s come after them as, say, Meshuggah or Sleep, while also having little sonically in common with either of them — it’s also nearly impossible to pinpoint one aspect of their sound that defines them. The churning rhythms in the riffing of Von Till and his fellow frontman, guitarist/vocalist Scott Kelly (interview here), Dave Edwardson‘s intensity on bass and periodic vocal, the assured percussive creativity of Jason Roeder and theexperimental edge brought to bear in Noah Landis‘ synth and sampling all prove to be essential elements of the whole. On Honor Found in Decay — and this isn’t to take away anything from any other particular member’s songwriting contributions — it would be Landis standing out with his greatest contributions yet, becoming as much a defining element in songs like “At the Well,” “Bleeding the Pigs” and “Casting of the Ages” as either Kelly or Von Till‘s guitars. Had I never seen the band before, I’d have a hard time believing Honor Found in Decay could possibly be representative of their live sound, but they are every bit as crushing, as oppressive and as emotionally visceral on stage — if not more so — as they are on the album, and while their legacy has long since been set among the most important heavy acts ever, period, as they climb closer to the 30-year mark (they’ll get there in 2015), Neurosis continue to refuse to bow to what’s expected of them or write material that doesn’t further their decades-long progression. They are worthy of every homage paid them, and more.
It’s hard for me to properly convey just how happy listening to Greenleaf‘s Nest of Vipersmakes me, and I’ve got several false starts already deleted to prove it. The Swedish supergroup of vocalist Oskar Cedermalm (Truckfighters), guitarists Tommi Holappa and Johan Rockner (both Dozer), bassist Bengt Bäcke (engineer for Dozer, Demon Cleaner, etc.) and drummer Olle Mårthans (Dozer) last released an album in 2007. That was Agents of Ahriman, which was one of my favorite albums of the last decade. No shit. Not year, decade. With a slightly revamped lineup and Dozer‘s maybe-final album, 2008′s Beyond Colossal, and the never-got-off-the-ground side-project Dahli between, Nest of Viperslanded this past winter and with the shared membership, Karl Daniel Lidén production and consistency of songwriting from Holappa (interview here), I immediately saw it as a sequel to the last Dozer, but really it goes well beyond that. Tracks like “Dreamcatcher,” “Case of Fidelity,” “The Timeline’s History” and soaring opener “Jack Staff” show that although they’d never really toured to that point and been through various lineups over the years, Greenleaf was nonetheless an entity unto its own. Cedermalm‘s vocals were a triumph, Mårthans‘ drumming unhinged and yet grounded, and guest appearances from organist Per Wiberg and vocalists Peder Bergstrand (Lowrider/I are Droid) and Fredrik Nordin (Dozer) only enriched the album for repeat listens, which I’m thrilled to say it gets to this very day. If I called it a worthy successor both to Dozer and to Agents of Ahriman, those words alone would probably fall short of conveying quite how much that means on a personal level, so let its placement stand as testimony instead. This is one I’ll be enjoying for years to come, and when I’m done writing this feature, this is the one I’m gonna put back on to listen through again. It has been, and no doubt will continue to be, a constant.
Go figure that the Om record two albums after the one called Pilgrimagewould feel so much like a journey. Further including multi-instrumentalist/vocalist Robert A. A. Lowe (also of experimental one-man outfit Lichens) alongside the established core duo of drummer Emil Amos (also of Grails) and bassist/vocalist Al Cisneros (also of Sleep), as well as incorporating a range of guest appearances from the likes of Grayceon‘s Jackie Perez Gratz on cello and Worm Ouroboros‘ Lorraine Rath (who appeared on 2010′s God is Goodas well) on flute, Om fleshed out what was once a signature minimalism to the point of being a lush, constantly moving and markedly fluid entity. Cisneros, as the remaining founder and lead vocalist, served as a unifying presence in the material — his bass still was still very much as the center of “Gethsemane” or the more straightforward and distorted “State of Non-Return” — but those songs and “Addis,” “Sinai” and gloriously melodic closer “Haqq al-Yaqin” amounted to more than any single performance, and where prior Om outings had dug themselves deep into a kind of solitary contemplation, Advaitic Songslooked outward with a palpable sense of musical joy and a richness of experience that could only be called spiritual, however physically or emotionally arresting it might also prove. I’ve found it works best in the morning, as a way to transition from that state of early half-there into the waking world — which no doubt has more harshness in mind than the sweet acoustics and tabla at the end of “Haqq al-Yaqin” — so that some of that sweetness can remain and help me face whatever might come throughout the day. A morning ceremony and a bit of meditation to reorder the consciousness.
Didn’t it have to be Colour Haze? Didn’t it? Two discs of the finest heavy psychedelic rock the world has to offer — yes I mean that — plus all they went through to get it out, the drama of building and rebuilding a studio, recording and re-recording, pressing and repressing, what else could it have been but She Said? After two-plus years of waiting, I was just so glad when it actually existed. Late in 2008, the Munich trio released All, and that was my album of the year that year as well (kudos to anyone who has that issue of Metal Maniacs), but I feel like even if you strip all that away and take away all the drama and the band’s influence, their standing in the European scene, guitarist/vocalist Stefan Koglek (interview here) fostering next-gen talent on Elektrohasch and whatever else you want or need to remove, She Said still holds up. Just the songs themselves. The extra percussion layered in with Manfred Merwald‘s drums on “She Said,” the horns and Duna Jam-ambience on “Transformation,” the unpretentious boogie of “This” on disc one, or the rush of “Slowdown” on disc two and the culmination the whole album gets when the strings kick in on “Grace.” Those strings. God damn. Suddenly a 2CD release makes sense, when each is given its own progression, its own destination at which to arrive, and tired as I am I still tear up like clockwork when I put on “Grace” just to hear it while I type about it. Beautifully arranged, wonderfully executed, She Saidcouldn’t be anywhere but at the top spot on this list. The warmth in Koglek‘s guitar and Philipp Rasthofer‘s bass on “Breath” and the way their jams always seem to have someplace to go, I feel like I’m listening to a moment exquisitely captured. There isn’t a doubt in my mind Colour Haze are the most potent heavy rock power trio in the world, and that their chemistry has already and will continue to inspire others around them, but most importantly, She Saidmet the true album-of-the-year criteria in not seeming at all limited to the confines of 2012 — as though it had some kind of expiration date. Not so. Even though I’ve already been through them more times than I know or would care to share had I counted, I look forward to getting to know the songs on She Saidover the years to come, and as I have with Colour Haze‘s works in the past, seeing their appeal change over time the way the best of friends do. It couldn’t have been anything but Colour Haze. Whatever hype other albums or bands have, for me, it’s this, and that’s it.
If this list went to 25, the next five would be:
21. Snail, Terminus
22. Revelation, Inner Harbor
23. Wo Fat, The Black Code
24. Groan, The Divine Right of Kings
25. Caltrop, Ten Million Years and Eight Minutes
Honorable mention goes to: Trippy Wicked and the Cosmic Children of the Knight (another one about whom I have a hard time being impartial), Mighty High, At Devil Dirt, Bell Witch, Samothrace, Enslaved, Viaje a 800, and Larman Clamor.
Also worth noting some conspicuous absences: Witchcraft, Swans, Baroness, Royal Thunder, The Sword, Torche. These albums garnered a strong response and have done well in the Readers Poll looking at the results so far, but please keep in mind, this is my list, I took a night to sleep on it, I stand by it and I’ve got my reasons for selecting what I did. You’ll find about 5,000 words of them above.
Thank you as always for reading. If you disagree with any picks, want to add your own take on any of the above, or anything else — really, whatever’s cool — please leave a comment below.
The alarm went off three times this morning. Each one was more painful than the last. Even as I type this, I’m still burping last night’s wine. So of course, when it came time to pick a track for this week’s Wino Wednesday, “Dying Inside” by Saint Vitus was an obvious pick. The song’s a little more tragic than I feel about it — I got my standard greasy breakfast sandwich, took some ibuprofen, drank some coffee and the recovery is well under way — but I wasn’t far off from “I have ruined my soul” when I hit snooze for the second time.
This footage was filmed in 2010 in Hamburg, and I’ve posted other clips from the same show before, because they kick ass and because they’re pro shot. “Dying Inside” comes off 1986′s ultra-classic Born too Latealbum and is just one of that record’s several anthems, along with the title-track and “The War Starter.” And, you know, all the rest. The lyrics make it a standout, though, written with Dave Chandler‘s classic no-bullshit ethic and delivered — in this clip and every time I’ve seen them play it — with visceral conviction by Wino.
So yeah, while I continue to get my head together and face the rest of this afternoon, please enjoy “Dying Inside” and have a happy Wino Wednesday:
So here’s the thing. I really like the current Wino Wednesday banner — don’t get me wrong — but it’s been more than a year now and I’m thinking it might be time to change it up. It just so happens I saw Saint Vitus at the Saint Vitus bar last week, and managed to get a couple decent pictures out of it.
But I can’t really decide which one of them I should use to make a new banner. If you’ve got an opinion on the matter, leave a comment. I’d love to hear it.
Here are the current candidates:
1. The Crazy-Eyes Angry Wino
2. Farther Back Shouting
3. The Nostril Shot
4. A Less Angry Closeup
5. Fuzzy Contemplative Wino
They’ve each kind of got their own appeal and space for a logo, so yeah, if anyone wants to chime in, I’m way open to suggestions. Thanks as always.
While you’re thinking about it, here’s 23 minutes of HD footage from last week’s Vitus show, courtesy of UnartigNYC. Clip includes “Dying Inside,” “Saint Vitus,” “War is Our Destiny,” “The Bleeding Ground” and “White Stallions.”
I don’t even know who to thank for this. Saint Vitus? Season of Mist? Tony Reed? Cthulhu? Everyone? Whoever it is, after a full night of self-abusive drinking (ongoing!) and despairing about my life situation and the wide array of terrible choices I’ve made in career, career and, well, career, to see something like this totally out of the blue doesn’t exactly make up for the tens of thousands of dollars I’ve lost by never getting a real job, but at least the name of this site is on the same jewel case as a Saint Fucking Vitus logo. I don’t know what size cookie I get for that, but I’m banking on it having both chocolate and peanut butter chips.
Posted in Reviews on September 26th, 2012 by H.P. Taskmaster
Even before it started, Sept. 25 was more than one occasion. Principally, my eighth wedding anniversary. It was also the day Saint Fucking Vitus hit the bar that bears their name in Brooklyn, with Weedeater and Sourvein supporting. Saint Vitus at the Saint Vitus. And in the intertwining of these two events, I’ll say it will serve for years as an example of the long list of reasons I’m glad I’m married to The Patient Mrs. that the one did not preclude experiencing the other. Three bands — any one of whom on a given night I’d be happy to see as a headliner — in probably the smallest space at least Weedeater and Vitus will play this year. It was something special.
This week is also the U.N. General Assembly in Manhattan, and as I was anxiously waiting to depart and head to Brooklyn for the show, it was this foremost in my mind. All it takes is one diplomat deciding to go for a stroll down 34th St. and the Queens-Midtown Tunnel is pretty much inaccessible by car, so I made sure I had plenty of time to get to the Saint Vitus bar. Turned out I was early arriving, and at that point, things started to seem a little too easy. I’d made it there, made it there early, and I was about to watch Sourvein, Weedeater and Saint Vitus do a gig together about as far away from me as the keyboard on which I’m currently typing. I couldn’t help but look up to see if any pianos were about to fall on my head.
None did. And The Patient Mrs. was like, “you should go to this show,” and traffic was like, “you should go to this show,” and my brain was like, “dude I can’t fucking believe you’re going to this show,” and then I was at the show and then the show was happening and all threat of pianos was gone and everything that sucked was somewhere else and all the was was volume, riffs and fists in the air. Sourvein made a raucous opener, and the fact that since the last time I saw them vocalist T-Roy Medlin has surrounded himself with a new band — including former The Gates of Slumber drummer J. Clyde Paradis – only added to the sense of adventure.
Guitarist Joshua “JC” Fari – the band’s original bassist — donned a t-shirt with the logo for famed Manhattan venue the Limelight (the “rock ‘n’ roll church” as it once was) I guess to mark the evening, and bassist Todd Kiessling (Phobia/Dystopia) was of course locked in with Paradis on the band’s signature grooves. Hard to believe Sourvein will have existed in one form or another for 20 years in 2013, but if Medlin is the lone constant for all that time, he gave a good showing of why in Brooklyn. They weren’t through the opener for their set — the title-track to 2008′s Imperial BastardEP — before Medlin had jumped off the stage. Granted it was crowded up there, with Paradis’ drums set up in front of the kit Henry Vasquez would later use for Saint Vitus‘ set, but still, for having been the driving force in Sourvein for nigh on two full decades, Medlin‘s energy was commendable.
More to the point, their sludge was fucking vicious. It was fascinating to see Sourvein and Weedeater back to back because of how closely the bands are related. Not just by blood either — Medlin and Weedeater‘s “Dixie” Dave Collins are cousins — but in general ethic and punk rock fuckall, there’s a definite link. I can’t imagine either band is particularly fond of playing New York, but Sourvein hit hard with a closing duo of “Fangs” from last year’sBlack Fangs(review here) and “Dirty South” — their anthem — and split out in noisy fashion to a resounding reception from the growing crowd. It was early yet, just getting on 10PM, but the room was beginning to fill up.
I spent the vast majority of the night up front. Right up front, where someone of my size and stature really has no right to be. I didn’t want to miss taking pictures, yeah, but I didn’t want to miss the show, either, and I had memories of standing in the back bar as Pallbearer – the last too-big-for-the-room gig I saw at the Saint Vitus — doomed the living crap out of those in more immediate vicinity. So I stayed put in front of the stage, and as Weedeater got going by kicking into tracks from 2011′s Jason… the Dragon(review here) like “Hammerhandle,” “Mancoon” and “Turkey Warlock,” I was easily convinced I’d made the right choice.
Collins had a bottle of Evan Williams, drummer Keith “Keko” Kirkum and guitarist Dave Shepherd had PBR tallboys, so it was a party from the start. “Make noise,” was the bassist/vocalist’s urging to his bandmates before they started, and apparently they were listening. They kept the set mostly skewed to Jason… the Dragonand 2007′s God Luck and Good Speed, the volume giving no quarter behind him as Collins let loose his nastier-than-all rasp. Kicking his leg behind him, contorting to a wide array of faces, leaning on the wall and sitting on his amp case before getting up for another round, kneeling to play, drinking both from his bourbon and a bottle of what I could only assume was cough medicine taped to the side of his speaker cabinet — before they went on, he tried out two straws and clearly favored the longer — Collins was, as ever, a more entertaining frontman than the unfriendliness of Weedeater‘s music might initially have you believe. “I hope you fucking hate this song so much you cry from it,” he said at one point. To the best of my knowledge, nobody cried.
They wrapped with a full-lung toke off of “Weed Monkey” from God Luck and Good Speed, which was preceded by the Lynyrd Skynyrd cover, “Gimme back My Bullets” that appeared on the same album. Someone clever soul in the crowd shouted “Play some Skynyrd!” when they finished, to which Collins — fully absorbed in a stage process I don’t think anyone but him really understands — replied with a quick “we already did,” as though the words were bullets bouncing off him. There are very few bands who could follow Weedeater and hope to stand a chance of not having been blown off the stage. For this too, it was lucky that Saint Vitus were up next.
If one can say such a thing about a doom legend, Vitus guitarist and principle songwriter Dave Chandler seemed positively tickled to be playing a venue with the same name as his band. Both he and vocalist Scott “Wino” Weinrich thanked the bar several times, Wino noting that it was a dream come true for the owners and the band both. After setting up their gear — subdued bassist Mark Adams drinking a Budweiser while his rig was assembled — they very quickly hit some feedback and launched into “Blessed Night” from this year’s Lillie: F-65(review here), the first song they wrote since embarking on this reunion in 2009.
Since then, I’ve seen Vitus four times that I can think of off the top of my head — Roadburn ’09, Brooklyn, Metalliance and last night; I might be missing one — and I may just have run out of appropriate hyperbole to convey the experience. I’ll argue tooth and nail that Saint Vitus are the single most important doom act America has ever produced, but more than that, they’re stripped down in a way no one else can quite manage to be. Seeing them live, it’s way less of a mystery to see why Black Flag‘s Greg Ginn recruited them for SST Records all those years ago in their initial run: they were basically doing the same thing Black Flag were doing, only they ran their brand of punk through a heady filter of Sabbath.
The government unfortunately doesn’t have a medal to give Chandler‘s guitar tone — though it should — but the guitarist roughed it out anyway, and I held my position up front for the first half of the Saint Vitus @ Saint Vitus set, Vasquez crashing out blood and thunder under the classic heft of the riffs while Wino seethed out the proto-drone of “I Bleed Black” and belted the more raging “War is Our Destiny.” They played all of Lillie: F-65save for the acoustic interlude “Vertigo” and the feedbacker finale track “Withdrawal” — not that the set was at all lacking feedback — stacking them into the earlier portion of the show to finish up with the likes of “The Troll,” “Mystic Lady,” “Clear Windowpane,” “Saint Vitus,” and the inevitable closer, “Born too Late,” which Chandler – representing the old school even down to his EC F’N W t-shirt — shouted out to the crowd after Wino jokingly asked when the audience was born. “What? ’86?” he laughed, no doubt remembering that was the year the album Born too Latewas released.
By then, I had moved to the back, and I feel like it’s worth mentioning why I did so. There had been some moshing during Weedeater, and I stuck that out well enough — took a couple shots to the back that have me sore today, etc., but ultimately survived and found it well worth the effort to do so — but when Saint Vitus got started, and as they really dug into the meat of their set, it was almost overwhelming. Not the crowd, or the push toward the stage, but just the whole thing. I mean, they were. Right. There. Even in the photo pit at Irving Plaza, I hadn’t been that close. After being up there all night, I probably could’ve stuck it out — and when they played “Saint Vitus,” I kicked myself for not — but I guess the bottom line of it was I felt like I wasn’t worthy of what I was witnessing, and after snapping off a quick 850 photos (yes, that’s a lot), I took a couple steps back, eventually winding up over by the soundboard in the back on the lefthand side of the room. I’ve seen a lot of shows in that spot at this point, and as Vitus said their last thanks and jammed out a noisy end — Chandler taking a page out of Medlin‘s book and jumping off the stage to solo in the crowd for a while — I felt lucky to be there at all, lucky to be alive, and where I was standing became at best a tertiary concern.
In the review he posted last night on the forum, SabbathJeff began with the line “Whoa, what just happened?” I was pretty sure of my surroundings when the show was over, but I’ll be damned if everything — up to and including the traffic on the other side of the Lincoln Tunnel — didn’t look just a little extra awesome for what I’d just seen. I got back to the humble Rockaway River valley a little bit before 2AM, inhaled some late-night pasta, said goodnight to my wife and crashed in anticipation of a rough alarm this morning. And today hasn’t exactly been the most productive day I’ve ever had, but if you think I’m about to start bitching the day after seeing Saint Vitus so close up I thought Wino was going to punch me in the face, there’s a good chance you’ve missed the point.
An amazing night the likes of which are rare. Thanks to The Patient Mrs. for eight years of wedded understanding and acceptance, and to you for reading.
Posted in Features on September 13th, 2012 by H.P. Taskmaster
I’ve done some cool shit in my day. Traveled places I thought I’d never go, seen things I never thought I’d see, and today, it’s my extreme fucking honor to exclusively host for free download a new Scion A/V Metal live EP from the gods themselves, Saint Fucking Vitus.
Get it right here:
The three songs on this new Saint Vitus live EP were recorded earlier this year at the Scion Rock Fest in Tampa, Florida, and there’s a good chance you’ve never heard Dave Chandler‘s guitar sound as buzzsaw-vicious as it does on this version of “The Bleeding Ground.” Full tracklist is as follows:
1. Mystic Lady
2. The Bleeding Ground
3. Born too Late
The occasion we’re marking — other than heretofore unseen levels of awesomeness — is the beginning tonight of Saint Vitus‘ tour with Weedeater and the reportedly at-least-somewhat-revamped lineup of Sourvein.
Saint Vitus will have a limited run of 600 copies 12″ vinyl pressing of the EP available at shows starting early next week, with the Jermaine Rogers artwork screenprinted on the cover.
Don’t miss the tour when it dooms through:
Scion A/V Presents Saint Vitus, w/ special guests Weedeater and Sourvein
9/13 Fort Worth, TX **
9/14 Little Rock, AR *
9/15 Memphis, TN
9/16 Nashville, TN
9/18 Atlanta, GA
9/19 Raleigh, NC
9/20 Richmond, VA
9/21 Huntington, WV
9/22 Lexington, KY
9/23 Pittsburgh, PA
9/24 Boston, MA
9/25 Brooklyn, NY
9/27 Washington, DC
9/28 New York, NY **
9/29 Cleveland, OH
9/30 Chicago, IL
10/1 Minneapolis, MN
10/2 Lawrence, KS
10/3 Denver, CO
10/4 Salt Lake City, UT
10/5 Boise, ID
10/6 Portland, OR
10/7 Seattle, WA
10/9 San Francisco, CA
10/10 Los Angeles, CA
10/11 Sacramento, CA
10/12 Santa Cruz, CA
10/13 Pomona, CA **
10/14 Santa Ana, CA
10/15 Tempe, AZ
10/16 Albuquerque, NM
10/18 Austin, TX
Scion A/V will also be hosting ticket giveaways, one winner per city, at their @ScionAV Twitter, so hit that up for even more “don’t have to pay for it”-type goodness.
Hard to believe, but this week marks the one-year anniversary of the very first Wino Wednesday post. It was a Premonition 13 video for the song “La Hechicera de la Jeringa,” and I said when I put it up that I’d probably be able to get a year’s worth of clips out of it easily, since Scott “Wino” Weinrich always had so much going on. Well, in that time, The Obsessed reunited, Wino put out a collaboration acoustic album with Conny Ochs, a Townes Van Zandt tribute with Steve Von Till and the recently-interviewed Scott Kelly, the first Saint Vitus album with him in the band in 22 years, also hitting Roadburn and Maryland Deathfest, and touring both Europe and the US. As a matter of awesome coincidence, I’m going to see him play tonight in Brooklyn.
It’s been a lot of fun bringing you these Wino Wednesday posts, and to celebrate the first birthday of this weekly landmark, I thought we’d turn to one of the most pivotal of all Saint Vitus‘ tracks: “Angry Man” from 1990′s V. Arguably it was the 2004 Southern Lord reissue of V that kicked off Vitus‘ resurgence — kind of a chicken and the egg thing there, I guess — but either way, “Angry Man” boasts one of the best Mark Adams basslines ever and the kind of stripped down Dave Chandler lyric that’s anthemic almost in spite of itself. To wit, the chorus:
All I want it to live my life Easy and free I don’t need No human bullshit Prejudice, down on me
Doesn’t get much more Vitus than that. “Angry Man” gets kind of overshadowed by the likes of “Born too Late” and the title-track of their 1984 self-titled debut, but its sensibility is among the band’s most vitriolic. Freedom through doom, doom through freedom. Fucking a right.
Happy Wino Wednesday, and here’s to the next year to come:
Posted in Whathaveyou on July 30th, 2012 by H.P. Taskmaster
Not that I don’t get the immediate appeal of seeing Saint Vitus at the bar in Brooklyn that shares their name, but that’s gonna be one crowded-ass show. Nonetheless, dig into these tour dates, much as they’ve dug into my calendar:
Scion A/V Metal presents
The 2012 SAINT VITUS U.S. headlining tour
in support of Lillie: F-65
with special guests WEEDEATER & SOURVEIN
9/14 Little Rock, AK @ Rev Room (also w/ RWAKE, YOB) 9/15 Memphis, TN @ Hi-Tone Cafe 9/16 Nashville, TN @ Exit / In 9/18 Atlanta, GA @ Masquerade 9/19 Raleigh, NC @ Lincoln Theatre 9/20 Richmond, VA @ Kingdom 9/21 Huntington, WV @ V Club 9/22 Lexington, KY @ Boomslang Festival 9/23 Pittsburgh, PA @ The Rex Theater 9/24 Cambridge, MA @ Middle East Downstairs 9/25 Brooklyn, NY @ Saint Vitus Bar 9/27 Washington, DC @ Black Cat 9/28 New York, NY @ Best Buy Theater (w/ DOWN, No WEEDEATER/SOURVEIN) 9/29 Cleveland, OH @ Grog Shop 9/30 Chicago, IL Bottom Lounge 10/1 Minneapolis, MN @ Triple Rock Social Club 10/2 Lawrence, KS @ Granada Theater 10/3 Denver, CO @ Bluebird Theater 10/4 Salt Lake City, UT @ Urban Lounge 10/5 Boise, ID @ Neurolux 10/6 Portland, OR @ Fall Into Darkness Festival 10/7 Seattle, WA @ The Highline 10/9 San Francisco, CA @ The Independent 10/10 Los Angeles, CA @ Bootleg Theater 10/11 Sacramento, CA @ Harlow’s 10/12 Santa Cruz, CA @ The Atrium at The Catalyst 10/13 Pomona, CA @ venue tbd (No WEEDEATER/ SOURVEIN) 10/14 Santa Ana, CA @ The Constellation Room 10/15 Mesa, AZ @ Nile Theater 10/16 Albuquerque, NM @ Launchpad 10/18 Austin, TX @ Beauty Bar 10/19 San Antonio, TX Bond’s 007 Rock Bar
The 2003 Saint Vitus reunion has been made curious by the years since. It’s almost like the band — guitarist Dave Chandler, vocalist Scott “Wino” Weinrich, bassist Mark Adams and drummer Armando Acosta — came back together, played this show, waited to see if the world was ready for them yet, and finding it wasn’t, went back into hibernation for a few more years. What exactly the change was that led the band to be able to re-reform in 2009 and go on to produce an album as stellar as this year’s Lillie: F-65 (just picked as my favorite of the first half of 2012, if you missed it), I don’t know, but it’s hard to argue with results as killer as those, and I’m inclined not to try.
But that reunion, short-lived as it was, was documented in the limited edition Reunion 2003: Live in Chicago DVD. At the time, Chandler was working with Trouble bassist Ron Holzner in Debris Inc. (they went through an array of drummers as well), and they played this show at the Double Door as well, but it became a blip in the history of the band that, until 2009, seemed to be the last they’d be heard from. The DVD is long gone, but there are a couple tracks up on TouYube, and being in a generally Vitus-type mood this week, “Clear Windowpane” couldn’t be a better fit. Wino‘s madman scowl is great throughout.
Please enjoy and have a happy (also doomed) Wino Wednesday.