Posted in Whathaveyou on December 18th, 2025 by JJ Koczan
Feast your eyes on the Brian Mercer poster below — oh golly, I hope they make t-shirts — and behold not only the art’s glory but also the know-your-shit gauntlet being thrown down by the initial lineup for Emissions From the Monolith 10, which will be the first edition of the festival in 19 years. And some of these bands are veterans of the event to be sure — Rebreather are the hometown staple, Solace, Stinking Lizaveta, Deadbird, The Brought Low, Disengage, Weedeater would’ve likely played, while Generation of Vipers and Telekinetic Yeti have come up in the interim. The message being delivered here lives up to what the returning festival said it would do in terms of blending the oldschool Emissions palette with newer incarnations of heavy.
I’m planning on going to this. I don’t know where I’m staying yet. I don’t know how I’m getting there — maybe a train? is that crazy? — but I knew damn well before this initial, more-to-come lineup was announced that I wanted to be there for Emissions 10. The bill thus far only makes me look forward to it more. No, it won’t be like it was at the Nyabinghi in 2006 when I got voted off the island (it was okay, I eventually got back on, but like a decade later) and the guys from SunnO))) were throwing hissyfits on the stage monitors. It’s been 19 years. But in addition to the reunion aspect of it, I can’t wait to see who else gets added, because Emissions From the Monolith‘s Greg Barratt has always had a very particular ear for sludge and heavy, and especially with the hints here in Telekinetic Yeti and Generation of Vipers, I’m curious to know who else makes the cut. Would Howling Giant be a fit? What about Rickshaw Billie’s Burger Patrol?
Presumably it’ll be the New Year before the next announcement is made, but tickets are available if you want to come hang. We’ll sort out the details like travel and lodging later. Probably too late.
From social media:
Emissions From The Monolith 10
October 8–11, 2026 Westside Bowl — Youngstown, Ohio
On Oct. 16, 2001, barely a month after the planes flew into the Twin Towers, New York City’s The Brought Low made their self-titled debut through Tee Pee Records. A classic heavy rock power trio, they came together in 1999 with guitarist/vocalist Ben Smith and drummer Nick Heller, who’d both spent most of the ’90s in the hard-punk outfit Sweet Diesel, bassist Dean Rispler, who’d produced that band and a swath of the rest of NYC’s punk and hardcore scene by the time Sweet Diesel were done, and who has been in Tiger Mountain, The Voluptuous Horror of Karen Black, The Dictators NYC, on and on. Dude even produced my Gimme Radio show when that was a thing. The point is he’s gotten around in 30 years of playing and performing. One could go on.
But the story here is the band itself. Recorded with Jesse Cannon and produced by Rispler, The Brought Low‘s The Brought Low runs nine songs and 41 minutes, and bringing Smith to the forefront feels in hindsight like a bigger stepping-out than perhaps one might’ve understood at the time. The genre shift from NY punk rock to a brand of Southern-tinged heavy rock looking to be both of its place and moment and wistful for something else — a past, an alternate present, something — is emblematic of what was happening in NY as bands like The Brought Low, Bad Wizard, Rye Coalition and others came up in a turn-of-the-century-era blossoming of a ‘scene.’ Hell, get RPG up from Virginia, take the other three, and you’ve got yourself a probably-modestly-attended show at The Continental circa 2003. Right on.
Mirroring that shift, Smith‘s sliding into a frontman role, lead singing and only-guitaring — he’d done backing vocals in Sweet Diesel and played guitar alongside vocalist/guitarist Nat Murray (also The Monumentals, more recently The High Stride), Heller on drums, and bassist Zack Kurland (Green Dragon, Altered States); these guys are lifers, let’s just assume everyone’s been in a dozen bands — feels all the more significant for the coinciding stylistic purpose shown throughout The Brought Low‘s debut. Yeah, they had a couple burners in the opening salvo, with the organ-inclusive “What I Found” leading off before the live-show staple “God Damn, God Bless” put emphasis on blues with its harmonica and steady, ’70s-with-an-update flow, and “Motherless Sons” demonstrating in its early chorus riff the punk still at root in their rock. “Hot and Cold” would add some gallop to launch side B as well, after the Southern rock ode to New York “Kings and Queens” revels in its own defiance of expectation to finish side A.
“Kings and Queens” and “City Boy” — “Some people love the country air/Not me I’m a city boy, oh yeah” — are in some ways telling of the group The Brought Low would become, and the same applies to the linear build that happens across the seven minutes of “Outer Borough Dust Run,” which starts with a moment of quiet before the guitar kicks in alone to begin the procession. Hindsight makes them sound impatient — because 2006’s Right on Time (discussed here) and 2010’s Third Record (review here) would show growth in that as well — but whatever tension there is early is smoothed out in the midsection with its backing vocals and stay-and-rest-a-minute hook, offered again before the guitar solo takes off shortly before five minutes in, and after for a pre-comedown crescendo. A structural standout, “Outer Borough Dust Run” also prefaced the ability that would surface on subsequent outings to sound genuinely out of place in the world when the song calls for it.
The BroughtLow, as an album, remains a statement of intention on the part of the band that is only underscored by the rampant Skynyrd-ism of the lead guitar at the start of closer “Deathbed.” Heller taps the ride and hits sharp pops of snare as he as throughout, but the quieter verse build benefits from the preface it got in “Outer Borough Dust Run” and brings back the organ from “What I Found” in its sweeping finish, which ends with a few crashes and relatively subdued ceremony.
A final instrumental jam is buried as a hidden track, under two minutes long, but the point has gotten across. The Brought Low revel in the contrast. Some other players might have come together in NYC to play Southern rock and made it showier, more of a caricature. With The Brought Low, that’s not really what it’s about. It’s more the songs than the format or presentation of them. Yeah, they’re playing to a classic vinyl ideal in the makeup of the record, but that’s part of it too, because that speaks to the direct influence of heavy ’70s rock under which they are working. Or were, 22 years ago. Authenticity is a myth, and authenticity in New York doubly so — then and now unless you really dig investment properties — but The Brought Low have never sounded anything other than honest, sincere in their blues, and strident in their contradiction with the output of their own musical history (I doubt they see it as one, actually) and the expectation of Southern rock as being from the Southeastern US. The Brought Low did it early, often, and without chestbeating or sounding like a joke. That is not an accomplishment to be understated.
When I think of records from this era desperately in need of a reissue, The Brought Low‘s The Brought Low is pretty high on that list. I’ll admit that years of watching them play live — as they continue to do every now and then — has made me biased in that assessment. Their other two records being likewise rad doesn’t hurt either. But what I take away from these tracks now is the willingness to do something else, the chance-taking that happened in this material when probably, if they’d wanted, Smith and Heller and Rispler — who’d been replaced by Bob Russell by when Right on Time came out on Small Stone — probably could’ve just started another punk band and done pretty well for themselves. They didn’t. You see what I mean about honesty.
As always, I hope you enjoy. Thanks for reading.
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This one’s for Johnny Arzgarth, whose attention might be caught out of what I know is a relatable and enduring affection for the band. He and his family were in Ireland and Northern Ireland this week, reminding me of my own trip there a few years back.
As I write this, we’re about to hit the road, not so far as Dublin, but to Connecticut at least, which given that it’s Friday and we’ll be doing the driving in the afternoon is going to be a fucking unpleasant disaster on I-95. I will not take the Merritt Parkway. I would rather sit for two hours on 95 than spend an hour on that. I’d rather drive Rt. 1 from Stamford to Madison.
Anyway, that’s happening. Tomorrow is the memorial service for The Patient Mrs.’ grandmother. I’ll be saying a few words, sort of MC’ing it, but not doing a full eulogy, which is probably for the best because put me in the right situation to talk about a person, place or thing, and I’ll just blah blah blah until everyone’s dead and they all need eulogies. What are we doing with the kid while we stand in the family cemetery in one place for upwards of 20 minutes? Let her run, I guess. “Don’t knock over any headstones,” and so forth.
We’ll be staying up there until Monday, which stresses me out but I seem to be the only one, so there you go. Next week? Of course it’s a Quarterly Review. I haven’t even been brave enough to broach the subject with The Patient Mrs. but had a moment of panic yesterday morning in talking about the plan for the week and nearly got chewed out for it, likely deservedly so. This morning I told The Pecan we could either brush her hair or cut it short so it didn’t need to be brushed and I got punched once in the arm and then had a fist pushed in my face. Just another breakfast with a five-year-old.
She’s at fairy camp right now, actually. That’s just this week, and is the first of a slew of camps The Patient Mrs. has lined up throughout the summer. It was a success. If you’ll recall, last summer, camp didn’t work and we ended up hiring the babysitter — which very much did work — and doing a lot of winging it. At least this time, we’re starting off with a success. Next week? Winging it.
I might bump the QR. It’d double me up on one day the following week but make life much, much easier otherwise and give me time to catch up on other reviews for stuff like Khantate and Lucid Vision. And if I put it off two weeks, I can add extra days… Oh okay. Things to consider.
However that plan shakes out, I wish you a great and safe weekend in the meantime. Thank you for reading, watch your head, be safe, tell someone you love them. All that stuff. I think The Patient Mrs. and I are going to post that podcast soon. Will keep you in the loop.
Posted in Whathaveyou on November 29th, 2022 by JJ Koczan
Raise some money, give it away, rock and roll. With assorted players from likewise assorted bands, the ‘Something I Learned Today’ tribute to Hüsker Dü on Dec. 10 at Union Pool in Brooklyn will benefit the community-response charity New York Cares, which has its volunteer hands in a pretty vast swath of programs across the boroughs of New York, kind of going where and when it’s needed to do what’s needed. In December, in addition to whatever else they’ve got going, they run a program giving out toys. They do SAT prep. All kinds of stuff that if capitalism were dismantled probably wouldn’t be necessary in the first place. Nonetheless.
This is one show, happening one night, and it’s for a decent cause, but it’s probably not the kind of thing I’d usually write about. Just being honest. Benefit shows happen a lot. If I covered all of them, I wouldn’t have time for anything else. What’s different here is primarily that Ben Smith from The Brought Low is involved — anytime that dude picks up a guitar is a positive for the world — and he’s joined by the likes of Erica Stolz of Sanhedrin and Jason Alexander Byers of Disengage/Black Black Black, among the various others you can see below. Smith will be part of a backing trio with Jeff Kaplan and Aaron Pagdon, who also play together in the hockey-themed six-piece Two Man Advantage.
Maybe that gets you out of the house and maybe not, but it sounds like a cool night to me and you can’t argue with the cause or the tunes. Info follows here, as snagged from the Facebook event page (also linked):
Something I Learned Today: An All-Star Tribute To Hüsker Dü to benefit New York Cares
Dead Flowers Productions proudly presents Something I Learned Today: An All-Star Tribute To Hüsker Dü to benefit New York Cares.
Guest singers include Mick Collins (The Dirtbombs), Erica Stolz (Sanhedrin), Joey Plunket (Country Westerns), Anthony Roman (Radio 4), Eric Davidson (New Bomb Turks), Kevin Egan (Beyond), Sohrab Habibion (Obits/Savak), Michael Jaworski (Savak), Leah Beth Fishman (PMS & The Mood Swings/Habibi), Jason Byers (Disengage), Zach Lipez (Publicist UK), Zohra Atash (Azar Swan), Vinny Carriero (Action Park), and others TBA.
The band: Jeff Kaplan (Two Man Advantage/Too Many Voices), Aaron Pagdon (Two Man Advantage/Action Park/Federale) and Benjamin Howard Smith (The Brought Low/Sweet Diesel).
They took my neighbor out last night on a stretcher. Ambulance, lights flashing. It was dark over here by then — maybe 8:30PM — so the walls started turning red and blue like we were having a rave of plague anxiety. Older lady. Maybe she fell. She did seem to have bad knees. I don’t know.
That’s what all the pandemic sci-fi literature/pop culture gets wrong. The waiting for what’s coming by those not on the frontlines. The not knowing. There are things happening so fast around us — but locked in our houses, what are we trying to do? We’re trying to clean. We’re doing laundry. The Patient Mrs. and I are trying to keep The Pecan entertained, decently fed. We’re constantly reading the news, quoting statistics at each other, but we’re also just trying to get through another day. We’re asking whether we want the diner or pizza for takeout. I’m grinding coffee for the morning. She’s working. I’m writing reviews.
Life.
You never hear about that waiting, or the worry that’s hiding behind the day-to-day. Consider Cormac McCarthy’s post-apocalyptic The Road. How cheap that story seems. They don’t even know what happened to collapse society. It was just gone and okay fine so off we go. Are you kidding me? Nothing in life happens like that. It happens like this. People start dying in numbers we can’t even conceive, so you know what? We don’t conceive them. We see them, we tell ourselves, “that’s awful,” and we make cookies. Those who have to go to work, do.
My sister got laid off yesterday from her corporate gig of long-standing. Sucks, of course, but she’s healthy, experienced and frighteningly competent, so I’m not worried for her. If she doesn’t get rehired to this job, she’ll get another as soon as there are jobs to get. With three million unemployment claims last week, obviously she’s not alone. Your bosses and your bosses’ bosses do not care if you live or die. That’s not their job.
We don’t know how many people will get COVID-19. We don’t know how well sheltering in place will work. Maybe by August we’ll all be dancing madly backwards at Psycho Las Vegas, breathing hot desert air through our unaffected lungs and headbanging through our reborn appreciation for being alive. It’s impossible to know what’s coming.
The Brought Low, above, are comfort music for me. Right on Time came out through Small Stone in 2006, and the NYC trio were on top of their game. 14 years later, these songs continue to smoke, and the band — massively underrated — put out one record after it and continue to do periodic shows after a few years away. This was their second and I don’t know if they’ll make a fourth album, but I love these songs and so wanted to close out the week with them, even if I didn’t include the usual critique-style blah blah blah.
I reserve the right to do another Friday Full-Length with Right on Time at some point under more normal circumstances — because not only do I love it, but I think it holds up on the merits of its songs, performance and aesthetic; “Dear Ohio,” “A Better Life,” “Vernon Jackson,” “Shake Down,” “Blues for Cubby,” all of it — it just didn’t seem to work this week.
Not that much did. The wheels came off around Wednesday and I was never really able to get it going again. I made it through the Quarterly Review, but shit, Enslaved announced their new album title this week and I wasn’t even able to get that posted. It’d take me like 20 minutes, max, to put that together, and nope. Just didn’t have it in me, didn’t have time. It has been a difficult, difficult week. I’m sleeping a lot. Even this morning, I slept until 5:30. Tried to get up earlier and couldn’t. And I’ve been sleeping when The Pecan takes a nap, which is like two hours in the afternoon.
Hard days. We go for runs in the morning, he and I, and that seems to help him even out. But he misses doing things, clearly. Gymnastics class, swimming class, daycare. Quarantine has been tough on him, and he’s really just too young to understand what any of it means, so all he knows is he can’t even go see grandma’s dogs and he doesn’t know why. I feel for him, and I feel for The Patient Mrs., who of course is the force keeping the entire household together, as always. She is the center around which my universe spins.
Be healthy. Be smart. Do what you can to enjoy your days, to enjoy each other. If you have someone, hold them. If you’re alone, reach out to someone else. Even if it’s texting, that contact makes a difference. Hell, drop me a line. I’m around. Be well.
Posted in Whathaveyou on October 24th, 2016 by JJ Koczan
The tribute show is an essential part of the rock and roll Halloween experience — bands essentially dressing up as other bands, if only in sound — and kudos to the guys from NYC trio The Brought Low for teaming up with Carl Porcaro from Kings Destroy and Sweet Diesel‘s Nat Murray (of course The Brought Low have their own connections to that outfit as well) for hooking up a gig and not just doing a set of Misfits songs like probably hundreds of other acts along the Eastern Seaboard will be doing that weekend. On Oct. 28, performing as The Rama Lama Fa Fa Fas, the five-piece will hit The Gutter in Williamsburg to pay due homage to the MC5. Maybe not the kind of thing I’d always post about, but given the personnel involved and the thought of how killer a time this one would actually be to attend, you’ll get no argument out of me.
And I gotta be honest with you, I could use another The Brought Low album. It’s been a surprisingly long six years since their Third Record (review here) came out in 2010 on Small Stone, and as early as 2012, there was discussion of a fourth, but nothing has yet materialized. Would be awfully nice, is all I’m saying.
While I go back and put on their last one again, here’s the highly exclamatory show info for The Rama Lama Fa Fa Fas this Friday:
The Rama Lama Fa Fa Fas – MC5 Tribute @ Gutter
The Rama Lama Fa Fa Fas is The Brought Low and Carl from Kings Destroy on second guitar and Nat Murray from Sweet Diesel on lead vocals doing MC5 covers. We have a show at The Gutter in Brooklyn Friday, October 28th. Here’s the info:
Friday, October 28 The Gutter Bowling and Fine Brews 200 N 14th St, Brooklyn, New York 11249
Brothers and sisters!!!!!!! It’s time to see a sea of hands!!!!!! It’s time to kick up some noise!!!!!! It’s time to get down with it this Halloween weekend and I want to know… Are you ready to testify?!!!!!! Are you ready to testify?!!!!!!
I give you a testimonial….
The Rama Lama Fa Fa Fas!!!!!!!!!! A musical tribute to the MC5 with members of Breakdown, The Brought Low, Killing Time, Kings Destroy and Sweet Diesel!!!!!!!
Join us at The Gutter Friday, October 28th to kick out the jams motherfuckers!!!!!!!!!
Posted in Questionnaire on February 10th, 2014 by JJ Koczan
If The Brought Low are on stage, you can safely bet that you’re going to have a good time. With thickened blues-via-punk grooves from bassist Bob Russell and drummer Nick Heller and a touch of twang in the vocal delivery of guitarist Ben Smith, the NYC trio’s songs present a character to heavy rock that no one else captures in quite the same way. At this point, experience is a factor. 2014 marks 15 years of The Brought Low, which formed in 1999 after the dissolution of Smith and Heller‘s prior outfit, the hardcore band Sweet Diesel. Their first, self-titled album was released on Tee Pee in 2001, and it would be half a decade before the follow-up, Right on Time, surfaced through Small Stone. Their aptly-titled 2010 Third Record(review here) was very much that, literally as well as figuratively in terms of expanding their range of influence and solidifying the progression of their first two outings. It delved further into blues and sad country, but still held firm to its rock and roll roots, ultra-memorable songs like “The Kelly Rose” and “Old Century” positioning The Brought Low as a band out of time even as they were utterly in their element being so.
Northeast regional shows have always been The Brought Low‘s trade, but they get out from time to time if the occasion suits, as SXSW has a couple times. Their latest release, an EP through Coextinction Recordings (stream here), arrived in 2011 and the band continues to work on their next full-length, while Smith and Heller step aside as well for periodic reunion gigs with Sweet Diesel.
The Obelisk Questionnaire: Benjamin Howard Smith
How did you come to do what you do?
I was very lucky to have been born into a big, artistic, musical family. My father wrote plays, my mother wrote novels, my sister sang in the church choir and my brothers played in rock bands. Playing music and being creative wasn’t an act of rebellion for me. It was something I was expected to do, like, “When are you going to learn how to play an instrument?” My brother taking me to see The Who movie The Kids Are Alright is what made me want to play guitar though it took a couple stops and starts before I really made the effort to learn how to play. A friend once said to me, “You love music so much you should really learn how to play,” which made a lot sense.
Describe your first musical memory.
When I was two years old my family did a house exchange and spent the summer in North London. Upstairs there was a record player and a stack of 45s including “(I Can’t Get No) Satisfaction” by The Rolling Stones, or as I called it, “GET NO!,” which I made my siblings play over and over and over and over and over and over…
Describe your best musical memory to date.
As a musician? As a music fan? As a human being? So many. You know, the first thing that comes to mind is Christmas morning, 1980, coming down and seeing a row of records propped up on one corner, like diamonds, across the living room couch. It was The Clash, London Calling, and Ramones, Rocket To Russia, and probably something by Led Zeppelin and Rush as well. The smell of new records and getting a paper cut under your thumbnail opening them and looking at the packaging and reading the lyrics and discovering all this new music. It’s still one of the greatest joys in life and still happens to this day. Well, you know, the discovering new music part, not the diamond LP display. Though that would be awesome too.
When was a time when a firmly held belief was tested?
Nothing comes immediately to mind though I think all your beliefs should be tested and examined and questioned. Otherwise it’s not a belief; it’s just something you were taught and arbitrarily decided you agreed with. Or maybe that is belief. I’ve had lots of beliefs since I was born. Some of these beliefs I still follow to this day. Others I have examined and decided I no longer agreed with. I don’t know. What’s with the serious questions, man?!?! Shouldn’t we be talking about Les Pauls and Black Sabbath already?
Where do you feel artistic progression leads?
Death. No, just kidding. For argument’s sake you could say AC/DC and Motörhead and plenty of folk and blues artists have had little use for it and it hasn’t seemed to hurt them any. By the same token, other musicians constantly evolve and change and push themselves. Both instincts can lead to great music. Also, if you play music for any amount of time you will, generally speaking, evolve and progress as a player. For myself, I am certainly a different person and musician than I was when I started out in bands.
How do you define success?
I’ve always felt as long as I could find someone who wants to put out my records, I have succeeded. I actually see some money now thanks to some of our songs being licensed to TV shows but in the end it’s a nominal amount and not enough to live on let alone support a family. I feel extremely blessed though for all the good fortune I’ve had as a musician. I have many talented friends who have not had the opportunities I have. Music has helped me see the country and even some other countries. Music is how I met my wife. Music is how I’ve made the majority of my friends over the last 20 years including some people whose records I used to buy. How cool is that? I have friends who are in more successful bands, some who actually make a living as a musician. Some of them are in bands with people they hate and are watching their children grow up on their iPads. I have always played in bands with my best friends and have had the joy of watching my daughter grow up first hand. Success is relative. Ultimately the success I’m most concerned with is the artistic achievement. Greatness is always the goal.
What is something you have seen that you wish you hadn’t?
Nothing. I’m glad I have seen everything I have, good and bad, beautiful and ugly. All of it is part of me and is something I have learned from or lived through, even if it was disturbing or upsetting. That said, I’m not a homicide detective or a combat soldier and the things I have seen in my life don’t compare to what people see who live in worlds where death and violence are a constant presence.
I will say, I lived in Manhattan on September 11th and stepped onto 5thAve., which looked down at the World Trade Center, moments after Tower One fell and I am glad I didn’t see that with my own two eyes. Also, I truly detest the sight of another human’s feces. So anytime I stepped into a bathroom and saw another person’s shit, I wish I hadn’t seen that.
Describe something you haven’t created yet that you’d like to create.
A soul album. Like Stax, Muscle Shoals-style Southern soul. With horns and ballads and backup singers, the whole nine. And guitar solos. If I had infinite time and resources I’d be in about 10 different bands playing 10 different styles of music.
Something non-musical that you’re looking forward to?
All of it. The seasons, life, watching my daughter grow up, taking on new challenges. I am pretty cynical by nature and generally pessimistic about humanity but let’s be real, we all, all of us here in America and in the world where we can read stoner rock music blogs on our computers live lives of tremendous ease and good fortune. Life is good. Yes, we sometimes have personal struggles, financial, physical or otherwise, but really, compared to so many in the world, we have so much. I am very thankful for all the good fortune I have had in my life; having a great family, growing up in the greatest city in the world, having the best friends a guy could ever want. Whatever happens next, I’m down.
Posted in Whathaveyou on August 12th, 2013 by JJ Koczan
Well established that I’m a sucker for a cool rock show and a cool rock poster, so when greeted by both, I’ve little choice in the matter of posting it. Enfectious Erf out of Memphis concocted the classy design below for what was previously announced taking place a week earlier as Small Stone‘s Detroit fall showcase and now seems to be less that than just another killer show with bands on the label, though it will also serve as the release party for Detroit-native progressive heavy rockers Luder‘s new album, Adelphophagia. In town for the night will be Freedom Hawk, Gozu, The Brought Low and Lo-Pan, so whether or not it’s an official showcase is immediately secondary to how much ass the night is going to kick. The Brought Low rarely get out that far, so Midwesterners take note, and any time Lo-Pan and Gozu get together, trouble is made. Very loud trouble.
Here’s the poster for the show, which you can click to enlarge if its current size isn’t big enough:
Small Stone Records Presents: Freedom Hawk, Gozu, Lo-Pan, Luder, The Brought Low
True, I probably should’ve been looking over housing rentals and formulating a plan for what apartments to see the next day — since that’s why I was in Boston a week and a half ahead of moving to Massachusetts anyway — but on the other, far less responsible hand, The Brought Low. The NYC trio were coming up to play Radio in Somerville with local-types Planetoid, The Scimitar and Hey Zeus also on the bill, and well, if I’m going to be living somewhere, there’s no time like the present to start getting my ass out to shows. What at its most convenient is a four-hour drive had taken more than six, my car’s air conditioner cutting out on the way. I’d been up since five in the morning. It was time to rock and roll.
I’ve been to Radio a few times now — I think every time I’ve been there a band on Small Stone has played, usually Gozu — and it’s a cool room. I had to remind myself that Boston’s a rocker town with a rocker crowd, so the place would probably be packed, and by the time Hey Zeus were finished, indeed it was. Last time I saw the native outfit was their first show, in January. It was one of the coldest nights of the winter. Go figure that I should run into them again as the heat index pushed its way past 110. A band for all seasons, they apparently are.
Opening up, I thought it was a pretty ballsy move for them to throw in a “Space Truckin'” cover halfway through, but they absolutely nailed it, vocalist Bice Nathan channeling his inner Ian Gillan to hit the screaming pre-chorus “Yeah!” high notes on the ultra-catchy Deep Purple classic. Ballsy as it was, they’d double-down by closing out a set otherwise comprised of driving original material with a take on “Speed King” from In Rock. It was almost like the set had a side A and side B and each closed out with a Deep Purple song. Not a bad way to go out, come to think of it.
Between Nathan‘s expert fronting the band, guitarist Pete Knipfing‘s red-hot Southern-style classic rock leads and the groove held down by the rhythm section of bassist Ken Cmar and drummer Todd Bowman, Hey Zeus were as tight as you could possibly ask them to be, varying their pacing somewhere between mid-moving stonerly lumber and the grown-up punk that has fueled so much of Boston’s heavy rock over the years. I dug it last time, I dug it this time, but more importantly, I’ll look forward to digging it next time.Feeling more metallic from their very start, The Scimitar followed in plundering fashion.
Guitarist/vocalist Darryl Shepard (see also Blackwolfgoat, Hackman, Roadsaw, and the League of Excellent Human Beings) announced from the stage that it was just The Scimitar‘s second Boston show. The trio, made up of Shepard, his Black Pyramid bandmate Dave Gein and drummer Brian Banfield, more or less functioned as an extension of that band’s marauding musical ideology, walking a line between thrashing metal and doom that Shepard‘s riffs navigated with ease. Some parts reminded me of Black Pyramid‘s 2013 outing, Adversarial(review here), but in cuts like “World Unreal” and “Forever and Ever and Ever” — based on The Shining and being played for the first time — there began to shine an individual personality for The Scimitar that will inevitably win out.
Gein and Shepard, recently back from a European tour in support of Adversarialwith Black Pyramid, were dead on from the start, which gave Banfield a task in locking in with the two of them, but the drummer handled it well, the trio sounding solid if formative in their chemistry and like they were only going to get filthier sounding as time went on. I wondered if crusty battle doom was a thing, or if it could be, and as if either to answer or to shake me out of my bout of overthinking, they ran through “Void Traveler” on their way to closing out with the Motörhead cover “Metropolis,” giving a suitably grooving treatment to the mid-paced swagger of the original, which appeared on the 1979 landmark, Overkill. Needless to say, beer was spilled.
Dressed up in elaborate and professional-looking alien costumes — one guy actually looked so much like Nightcrawler from the X-Men that I thought that’s what he was going for at first — as they walked around Radio loading in and hanging out, Planetoid were playing last, which meant The Brought Low went on third after The Scimitar. There was a moment right before they took the stage that I could feel myself hit the wall. I stifled yawns and kept myself standing upright, but wow, I was ready to be done. The Brought Low, who were viewing this show as something of a makeup from having to cancel on the Small Stone Boston showcase last fall owing to the post-Hurricane Sandy gas shortage, hadn’t even started yet. I’d only seen two bands!
Proud to report that I didn’t split before The Brought Low‘s set was finished. The trio — Ben Smith (guitar/vocals), Bob Russell (bass/vocals) and Nick Heller (drums) — were on my hypothetical list of stuff to see before no longer living in the New York area, so even though it wound up being in Boston rather than their hometown I caught them in, I wasn’t about to complain. Their on the cusp of 15 years together and lived up to the high standard the sets I’ve seen them play have set, Smith and Heller both having grown out their hair some since I last encountered the band in Fall 2011. In that time, they haven’t put out anything new — their last offering was a three-song EP on Coextinction Recordings (stream and track-by-track here) — but even “What I Found” from their 2001 self-titled debut sounded fresh among newer songs like “Army of Soldiers” and “Black River” from the aforementioned three-tracker.
“Black River” in particular made for an exciting shift just past the halfway mark in the set as Russell took the fore vocally with Smith backing, where the band’s usual process works the other way around, their chemistry and unique blend of country twang and rocking city grit underscored by the swing in Heller‘s drums, perhaps most prevalent of all in the slower “My Favorite Waste of Time” from 2010’s Third Record (review here), which was also a highlight. I don’t know how many times I’ve called The Brought Low the best rock band in New York, but I’m still right. Whether it was “Old Century” or “The Kelly Rose,” the only thing they left me wanting was more The Brought Low. Beat to hell though I was, I’d have stayed if they went on twice as long.
As it was, they didn’t go much further than 40 minutes. An encore after “Blues for Cubby” rounded out and I said a few quick goodnights and made my way back to the hotel, feeling guilty for not catching Planetoid but assuming this wouldn’t be my last opportunity to do so. The next day I got up and went and found a place to live.
