Live Review: Gozu, Worshipper, Magic Circle, Wormwood and Sylvia in Cambridge, MA, 06.03.16
It was a celebration. The first in a short series of release shows for Gozu‘s new album, Revival (review here), and for me, a fitting occasion to mark the last day of work at a job that, while providing a much-needed paycheck, for the last year put an unfortunate distance between myself and rock and roll. If I was looking to make up for lost time, a five-band lineup — more festival than show, even with a 9PM start — would probably be a decent way to make that happen, but while the bill was certainly packed, there was no one on it who felt like filler.
Rather, from starting off with Portland, Maine’s (the other Portland) Sylvia and continuing through Massachusetts-based Wormwood, Magic Circle, Worshipper and of course Gozu headlining, there was a flow to the night that took it from grinding sludge to soulful heavy rock in well-staged transitions, covering a swath of heft from front to back. Worth mentioning the show was presented by The Obelisk, but I had no hand in picking bands — that presumably was Gozu in conjunction with Grayskull Booking, who continues to do good work in Cambridge and Somerville, on the outskirts of Boston proper, which I think has banned music for its impediment to the developing of further luxury condos.
Here’s how it went down:
Sylvia
My first exposure to the dual-guitar Portland four-piece was their 2013 self-titled debut full-length (review here), produced by Steve Austin of Today is the Day, and so I knew somewhat to expect as they took the stage, though they still managed to work in a few surprises in their riff-led blend of thrash, grind, periodic heavy breakdowns and headfirst dives into crunch that brought to mind earliest, heaviest Mastodon without actually losing itself in pseudo-progressive winding. They owed as much to Napalm Death as to any kind of sludge, but seemed to play out that grinding influence on a bed of thickened, sometimes-lurching tonality that made their material as much about groove as about speed. I’d forgotten their connection through guitarist/vocalist Candy and bassist Reuben Little to defunct slow-crawling doomers Ocean, but afterwards that context continued to make sense in line with what guitarist Sean Libby and drummer Michael brought to the proceedings. After one of their songs, someone in the crowd shouted, “Play that riff again!” which was an impulse I could understand. They didn’t, but the next riff turned out to be killer as well, so it all worked out.
Wormwood
Based in Boston, Wormwood have a series of singles out and had merch on the table, but this was my first time catching them live. They’re something of a supergroup — though they might prefer “band with dudes who are in other bands too” — with guitarist/vocalist Chris Pupecki also playing in Doomriders, drummer Chris Bevilacqua a former member of that same outfit, guitarist Mike Gowell shared with Phantom Glue — who have a new record out — and bassist Greg Weeks hailing from metalcore pioneers The Red Chord, and their stage presentation offered due variety from that, with Gowell off to the side, casually shredding out lead after lead while Weeks thrashed out Pupecki unleashed a torrent of noise and Bevilacqua held it all together from behind. Following up on Sylvia, they had a definite core of extremity in their approach, but leaned more toward doom than grind, which set the progression of the evening in motion and provided nod-worthy stomp and consuming atmospherics that made me feel like I’d missed something by not checking them out earlier. A curious blend of elements warranting further investigation.
Magic Circle
Two albums in, it’s pretty clear that Magic Circle have earned a reputation. Their second LP, Journey Blind (review here), came out late last year through 20 Buck Spin, and as the follow-up to their 2013 self-titled debut (review here), it played down the doomed riffing of the first outing in favor of a more decisively classic metal approach. While they played what frontman Brendan Radigan laughingly called a “classic” from 2011 in “Scream Evil,” their first single, the vibe of the newer material held sway, driven by the NWOBHM gallop in the guitars of Chris Corry — whose “NCC-1701-D” and “make it so” amp decorations were appreciated — and Dan Ducas. As ever for their kind of metal, however, the rhythm section is what makes such shredding possible, and I’ve rarely seen a drummer who looks like he’s enjoying playing as much as Q (also of Doomriders). His presence adds levity — to compare, bassist Justin DeTore is more subdued and assured with the confidence that he’s the center around which this chaos is swirling; and he is — and allows the rest of the band to be who they are in a way that another drummer might not, but it’s the entire group making an impact from the stage, and as they ran through “The Damned Man” and closed with “Journey Blind” itself, their command of their sound was complete. I wouldn’t be surprised if they continued down a more metallic path going forward, and it suits them.
Worshipper
Played like a band on top of the world, which seemed reasonable. As announced here, Worshipper recently signed to Tee Pee Records for the release of their debut LP, Shadow Hymns, this August, and they’ve also reaped a Boston Music Award and the title at the annual Rock and Roll Rumble local competition, so if they’re feeling good about what they’re doing, the response they’ve gotten to their work thus far offers little counterargument. Neither could or would I, for that matter. Comprised of guitarist/vocalist John Brookhouse, guitarist Alejandro Necochea — who also filled in with Carousel on their last Euro run this Spring — bassist Bob Maloney and drummer Dave Jarvis, they offered noteworthy presence from the stage, playing in lighting that changed from the Middle East‘s bête noire red to near-total darkness save for some projections and reminding fervently of the chief appeal of what they do; the clear core of songwriting. Along with a grooved out cover of Pink Floyd‘s “Julia,” yet-to-be-released cuts listed as “Wolf” and “Arise” provided immediate impressions in their clarity of purpose, and if they weren’t professional-sounding enough, Brookhouse busted a string early in the set, calmly put his guitar down, walked off stage, came back with a flying V, plugged in, tuned and was ready to go in time for his next solo. They’re early into what one hopes will be a fruitful tenure, but they’re locked in already. Hope they tour.
Gozu
As stacked as the bill was, one could hardly accuse the headliners of taking it easy on themselves for their sold-out release show, but Gozu hit stage a little after midnight and made it abundantly clear to whom the evening belonged. Their set capped the evening’s progression from vicious grind to post-sludge to classic metal to classic heavy rock to heavy rock and while they didn’t play Revival — officially out June 10 on Ripple Music, but available on CD at the show — in its entirety, they did do every track but the spacier closer “Tin Chicken,” so it was well represented either way alongside “Ghost Wipe” and “Bald Bull” from 2013’s The Fury of a Patient Man (review here) and “Mr. Riddle” from 2010’s Locust Season (review here). They opened with the rampaging album launch, “Nature Boy,” which in just over three minutes’ time basked in both its own intensity and the maddening soul of its hook, guitarist/vocalist Marc Gaffney in top form joined here and there by guitarist Doug Sherman while bassist Joe Grotto and drummer Mike Hubbard nailed the grooves of “Big Casino,” which followed, only upping the party vibe. After “Ghost Wipe,” “Bubble Time” slowed the proceedings somewhat, but by then momentum was well on Gozu‘s side and it would not relent for the duration. Highlight of the set? Well, as they were playing it, I thought “D.D. McCall” into “Lorenzo Mama” — both from the new record — was as good as it was going to get, but they finished with “By Mennen,” which had Gaffney belting out the final lines of the set without instrumental backing, and it worked better than I might’ve hoped or expected, particularly with the older “Mr. Riddle” and “Bald Bull” as setup. There isn’t a band based in this region that I’ve seen more than I’ve seen Gozu since I moved to Massachusetts nearly three years ago now, and I’ve never seen them that they didn’t deliver. They owned the Middle East easily, out-rocked me by a mile at least — I hit a wall pretty hard from standing up front all night and had to move back or pass out — and gave Revival its due, which as that’s one of the best albums of this year, is saying something.
—
That having-hit-a-wall would define the rest of my night. Waiting outside the venue to meet up with The Patient Mrs., who’d been at another occasion in town, I could barely stand up. I was hydrated, hadn’t eaten much, and with the final work day I guess my body hit its limit. I had to stop and sit for a few minutes on a bench walking the several blocks back to where I’d parked, but the weather was gorgeous and my wife is gorgeous so I’d hardly call it unpleasant. The night on a whole had been a massive win, and I expect it will remain one of personal significance for some time to come, for multiple reasons.
More pics after the jump. Thanks for reading.
