Review for Two: Ludicra and Torche

Ludicra’s long overdue praise is finally here in the form of their Profound Lore debut, 'The Tenant'. Anyone who has been following American black metal before it was even considered a force separate from its Scandinavian forefathers can easily trace a strain of USBM back to the Bay Are with Weakling’s soul crushing, and only album 'Dead as Dreams'. Think of Ludicra as the phoenix that came out of the ashes of Weakling. If you know modern Bay Area metal you’ve probably run across metal busy man John Cobbet who’s had his hand in Lord Weird Slough Feg and his other project Hammer’s of Misfortune, and let’s not forget bass player extraordinaire Ross ‘The Boss’ Sewage who plays with gore fiends Impaled and recorded on Wolves in the Throne Room’s last studio effort. In theory this band should have been big years ago just on name recognition alone, but somehow they fell through the cracks.

With a proper label backing them (let’s face it, being the only metal band on the punk label Alternative Tentacles isn’t doing anybody favors), the San Francisco misanthropes have created an album that will make their contemporaries rush back to to the drawing bored. I hate to say it, but they were doing this a lot of the 'newer bands' were thinking of Black Metal, kinda. For those who know the band, imagine everything Ludicra has done, but on steroids. This is Ludicra at their best. For the uninitiated, put aside your Krallice and WITTR, 'The Tenant' blends a fine mix of metals progressive and black that sits perfectly accessible between raw and complex. Laurie Sue’s vocals sound like someone who was left out in the rain and can’t come inside. Her lyrics tell a story of urban decay. Raw pounding two steps, acoustic interludes, soaring guitar solos; there’s a reason why some call this band ‘grey metal’. For those already in the know 'The Tenant' will fit nicely in your collection. If you’re not already on board the Ludicra bandwagon this album will make you a believer.




Torche has plenty of reason to be happy. 'Songs For Singles' is a happy album. The opener, U.F.O., has one of the most happy riffs I've heard that remains somewhat heavy. 'Songs For Singles' is Torches latest offering, and boy is it something. Following what their genius-piece, 'Meanderthal' Steve Brooks has stripped the band of their post-Mastodon ways and created something, well, totally rad. The great thing about this album is that it's so up beat and still so damn heavy. Imagine if Big Business and Weezer joined forces and made the best pop-fused sludge album of the year. That's what it sounds like. Torche has had some less metal tendencies in their mix and I have always found it to work most excellently. 'Songs for Singles' seems to be possessed by pop/alt-rock hooks. By the time Hideaway (track three) come through you're not sure if you've got the right album. It's so damn rocking. And it even has a Van Halen-esque solo in the mix. Cast into Unknown captures a very similar 90s alternative rock thing, too. The album comes to an abrupt halt will the slow jammer, Face the Wall, which is the longest track on the rather short album. (The album is just shy of 22 minutes). Simply put, 'Songs For Singles' manages to do what probably not many bands in the business of heavy would care to do. The songs are catchy, the album is perfectly thought out from start to finish. I can't find something bad to say. Go listen to this album and be happy.

New Wildildlife Single... Volcom Debut out SOON!

So I'm trying to find out when the fuck my band's split with Wildildlife is coming out and I happen to run into this little gem on their label's website. Here is a link to the smoking hot new title track off their new album, "Give In To Live," which is due out October 26 on Volcom Records.

http://www.wildildlife.com/

Reissue Redux: Refused "The Shape of Punk To Come"

Along with Neurosis's "Enemy of the Sun" Refused's "The Shape of Punk To Come" was one of the first album's that confused the fuck out of me. I didn't know how to approach it. It was heavy for a bit, then it'd break into some electronic jam. The album would never settle one just one idea and let the listener to just it in. Instead it gracefully bounces around several different moods. The album truly stands a whole, not as separate songs. "The Shape of Punk to Come" is truly a work of art. Thankfully, they re-released it and included some extra goodies, too.

The powers that be packages this deluxe edition with not only TSOPTC, but a live album from the band's last active year AND a freakin' documentary telling the story of their demise. I won't talk about the album because, if you haven't heard it yet, you're missing out, and I feel that deluxe editions are more about the extras than the album itself.

The live disc, from Umeå Open Air, showcases almost the entire TSOPTC album, which would seem a bit tricky seeing as how conceptual the album is. There's elements from that album that I imagined wouldn't translate well in a live setting, but they did it, and very well! The band's energy is on high. I would have killed to be at this show.

The third disc is a DVD documentary entitled "The Refused Are Fucking Dead." The documentary tells the story of the band's last year or so together. If anyone reading this is a fan of Scandinavian film, you'll know what I mean when I say this documentary is Swedish as fuck. It's an work of art on its own. The photography is outstanding and really captures a feeling of the end. The focus of the story seems to rely mostly on the relationship and accounts of Dennis Lyxzén and David Sandström, who helped form the band. They tell a story of a band struggling to continue after outdoing themselves for seven years. The sections on their last American tour is told by a fan who really captures the mood of a band on the brink of demise with such poetry that it made me cringe at times. Although the story doesn't spend much time talking about the actual making of the album (Decibel Magazine does a great job with that in their 'Hall of Fame' segment), the director does a great job of storytelling.

Time Travel: AC/DC "Powerage"

I'm 25. To most people my age AC/DC was a band you dabbled in until you discovered Black Sabbath and Led Zeppelin. "Back In Black" was the most rockin' album we knew of. All other albums were these obscure gems that we'd listen to, but never talk about. This band eventually became the favorite music at college bro-parties and strip clubs. Most of my friends could care less about them (prove me wrong?), and an ex-coworker would throw fits every time I'd play their albums. In short, AC/DC has gotten a bad rep from my generation.

"Powerage" has not only rekindled my love for these ol' fashioned rock n rollers, but it's something that most people in their twenties listening to old school revival hard rock should really take into consideration. Without this album, I don't think a lot of bands might have the sound we know them for today. It doesn't posses the typical AC/DC format, well okay, it does, but they somehow manage to do it so much better on this album than the others.

Songs like 'Down Payment Blues' laid out a blueprint for Nashville Pussy to strut their Southern sleaze, while 'Riff Raff' might as well have written Annihilation Time's First album, if not at least played a major role in it. And we cannot forget one of my favorite songs of all time, 'Gone Shootin', which also served as the theme song for "Beavis and Butt-Head," so you know it's got to be good. This album as so many unsung gems, you wouldn't know what to do with them. The most famous jam on this album is 'Sin City', and even that is a distant classic to my ears. 'What's Next to the Moon' has probably some of the best lyrics I've read, and some of the rhythm patterns that band has ever done.

If you really wanted to go back and look for some vintage jams, "Powerage" is readily available for a good price.

Two For One: Twilight & Lightning Swords of Death

There have been several 'all-star' ensembles that have surfaced over the past few years and Twilight certainly falls into that trend, but with an interesting twist. For starters, this is their second album, and with a more street cred-worthy line up. Originally, this band consisted of members of Xasthur, Nachtmystium and Leviathan before anyone gave a shit about any of these bands. Their first release was strictly for nerds. Now, Nachtmysitum is big, Aaron Turner is finding stuff to do now that Isis is kaput, and you can't throw a stick without finding an album Sanford Parker didn't produce. I'm not saying any of that is a bad thing, but these factors help carry the weight of the band's name this time around.

The first track right away sounds like Aaron Turner has his hands all over it. This sounds like if Isis wanted to write some folky black metal riff, but really it's just an Isis song with some black metal vocals over it, and it ain't too shabby. The track later comes through with some epic black metal blasts. This definitely sets the tone for the rest of the album. The rest the album twists and turns through a great blend of post-metal psychedelia along with classic late 90s black metal. 'Convulsions in Wells of Fever' definitely hearkens back to Judd's kvlt days. It's nice to see that especially Blake Judd hasn't forgotten how to write a black metal album. When hearing this album you wish this was the album Nachtmystium put out instead of that crappy "Black Metal Pt. 2".

This album is exactly what you'd expect from some of today's heaviest and grimmest. This also exemplifies the current trend of heavy music today: black metal and sludge/noise/psych metal joining forces to capture the best of it all. Definitely a must buy!



While most of SoCal's metal bands are concerning themselves with ruining death metal, Lightning Swords of Death seem to be more concerned with writing some of the rawest and primal black metal this side of the world. While I have great enjoyed Wolves in The Throne Room and Krallice (aka Wealking 2.0), "The Extra Dimensional Wound" is a breath of fresh air.

The album's opener and title track wastes no time cutting your throat like a rusty blade. The guitars on this album are raw as fuck. The entire time I hear this album cannot stop thinking about Watain. Make no mistake, these guys are not a Watain knock-off, but it's safe to say they achieve the same raw energy that only Watain can do in this day of black metal. The album as a whole kind of blurs from start to finish, which steers you away from skipping through tracks. What really sets this band's sound apart is how it manages to capture the early 90s sound that also very close to when Dark Throne was transitioning from death to black metal. I think most black metal bands these days are concerned with capturing an atmosphere, but Lightning Swords of Death wants to bash your heard in. They don't want you to think, they want you to destroy!

Album Review Three-Way! Misery Index, Zoroaster, Hazzard's Cure

Misery Index is a band currently destroying its competition. Not considered a new band, but not an old band either. What makes this band stand out in this current state of junt-junt, pig squealing 'core' bands is that this band, to me, is of the olde guard. Founded by basically the 'Destroy the Opposition' line up of Dying Fetus (A band that helped write the book most new bands jerk off with), this band comes from an era of Death Metal where people were writing technical music that still had a song in it. This is why Misery Index remains a cut above your Job For a Cowboys and your Faceless'.

Their latest effort, 'Heirs to Thievery', is another collection of outstanding songs. Initially it felt like the band took a step back from their previous masterpiece, 'Traitors', but they didn't. 'Heirs' is by no means a subtle album. After listening to it a few times you'll hear all the intricacies. What you do hear first brutal hardcore fused death metal. You're not smacked in the face with a swarm of 1,000 riffs you can't even wrap your mind around (see: A.D.D.). Instead you're pounded by crunching riffs that don't whiz by you. 'The Spectator' is probably one of the more catchier songs as it almost feels like a DM band writing a hardcore song, not the other way around. Lastly, there's several guest vocals from the likes of Hate Eternal's Erik Rutan and Dying Fetus main man John Gallagher. While a nice treat for fans, unless you know what song they appear on, and listen closely, you won't notice. Great Album.



The last few years have been great for Georgia's heavy music scene. Last year brought epics from Mastodon and Baroness. 2010 has already provided listeners with new tunes from Black Tusk and Harvey Milk, and a new Kylesa album is on the way. However, Zoroaster's new jam, 'Matador' is probably my favorite thus far.

Critics in the past have called these guys Atlanta's loudest band, and for a good reason. 'Matador' is a loud fucking album. The opening segue in the first track, 'DNR', grabs your attention and then slows down to a cosmic mountain groove. Right away you get the sense that this album is going to rock. The vocals on this album sound like they were recorded deep in a mountain while the music was recorded on the moon. This album probably wouldn't be as loud is Zoroaster wasn't playing these songs, or maybe not. Don't get me wrong, the riffs are heavy, but they manage to play them with a certain finesse. Elements of this album remind me of Electric Wizard when they're rockin' out. This album creates a giant wall of sound, but also has such clarity that you can actually hear all the notes. 'Black Hole' is probably one of the more stand out tracks for me, it's not quite like the rest of the album but it fits right in. It has the elements of crushing southern sludge, but blends it with hints of an almost black metal riff from outer space, but not really.

Simply put, Zoroaster accomplishes many things I wouldn't expect from bands in the genre. They have a great ear for riffs and song writing. If you haven't heard this band, or are looking for something new and heavy, go by this album right away.



Hazzard's Cure is a San Francisco band comprised of some local folks you may or may not have heard of. Members include Shane of Walken fame; Chris from Floating Goat; Clint, Sludge's answer to Neil Pert; and some guy named Leo (sorry). Chris gave me their crushing three song demo, and here we go.

The opener has Chris's charging guitar work written all over it. Immediately you can tell this guy loves Matt Pike, but not too much. Clint's drums are all over the place. Sometimes I'd wish he'd bang on the cymbals a little more (he does later), but he makes up for it in pounded them toms. Leo and Chris might be one of my new favorite guitar duo's in the SF scene. They effortlessly flow in an out of charging sludge riffs and then lay on some funeral-esque undertones and finish up with some epic Wealking inspired black metal rants. The last two tracks are a little more thrashy, but do not loose any of the spirit of the first track. Chris's vocals on the last track are reminiscent of Pike-meets-Hetfield.

This band is another example of San Francisco's approach to metal of recent: take the best of everything and then write great, epic songs. Go see these guys live and get your hands on this demo!

Sleep w/ Thrones (September 12, Regency Ballroom, San Francisco)

Sleep is one of the bands I'd never thought I'd get to see in the flesh. It's been over 10 years since Dopesmoker broke the band up and everyone went their ways. But through some cosmic happening, Sleep reunited, and it was good.

This particular show the the first of two performances the band would place in San Francisco. Opening the evening was none other than Thrones, aka Joe Preston's one man mammoth wall of sound. I had seen Thrones at Gilman several years ago when I played my first show with the now defunct One Hundred Suns. I have seen bands play heavy music. I have felt heavy sounds rumble my very core. Those were ensembles of musicians working together to shake the earth. Band? Joe Preston don't need no stinking band! Thrones is capable of doing with one person that most bands can barely pull off as a group. Mr. Preston shook the entire room from the ground up shredding his bass while the sounds of drum machine just cut through his wall of sound.

It's not secret that Sleep loves Black Sabbath. Hell, the only shirt for sale showed a picture of Tony Iommi with the words "The Diety" written bellow. During the intermission the sound guy played what felt like samples of Sabbath's entire discography, three times, while and image of Iommi served as a back drop.

Then, it happened. They came on stage. The Marijuananaut handed them their instruments and Matt Pike played 'the riff', the opening to their hour-long epic, Dopesmoker. I cannot tell you what it felt like to not only hear that riff being played, but to actually see it being played. It was a holy experience.

The rest of the show was spectacularly arranged. The band weaved in and out of selections from the Holy Mountain album with very few breaks. Although Dopesmoker was not played in full, they concluded the set with a large chunk of it. I cannot tell you how amazing it felt to see Pike and Cisneros on the same stage together, and to see Al in front of a mic, sorta yelling. You go see bands whose music you know, and it makes the evening familiar and enjoyable. Seeing Sleep play some of the most important music in my life, live, in the flesh, was truly another kind of experience. It kinda makes you believe in something.

Bummer Town: The Knockout's Sound Guy Sucks a Dick

Before I go on my rant, I want to preface that what I'm about to say DOES NOT reflect the Knockout SF as a whole. I am merely talking from a musician's point of view regarding a certain recurring experience I've had. Most of the staff at the Knockout are quite nice and treat you well. The same cannot be said for the story I'm about to tell.

My band, Flood, has played at the Knockout three times in the last two years. This place is known for their DJ nights and strong drinks. What people may not know is that they are in a constant battle with a tenant who lives in the apartment above the bar, which as a result effects the shows the bar puts on. This tenant has repeatedly threatened the club due to it's 'excessive noise'. The Knockout has made several attempts to accommodate the situation: sound proofed parts of the bar and have shows end early, just to name a few things. It should also be noted that the bar itself has been there long before the tenant ever moved in. This tenant should have known that he/she was going to be living above a bar in the Mission. For starters, I don't think of the Mission as a neighborhood, and a bar (any bar) certainly won't be either.

So what this does for the 'sound guy' at the Knockout is make him very, very anxious. He does not want the bar to be shut down, but he also wants the show to go on. So what does he do?

A sound guy at a bar/club is basically there to provide a P.A. and a few mics for the vocals and maybe drums. He/she is to assist the band with whatever audio needs they may have. It is not his job, nor is it any of the staff's job, to make the bands feel uncomfortable. This is exactly what he did. For starters, he places the bass and guitar on the opposite sides from what we're used to (it's a little detail but it makes a huge difference if you're used to hearing things a certain way. And why should the position of instruments matter anyway?) While we're doing our sound check, he tells us to turn down, a lot. If anyone has heard my band you will know that we are loud, really loud. Turning down won't do much. Given the circumstances, I don't mind the request. What he does next is move throughout the crowd during our set, mostly standing front and center, so the band can see him, checking his iPhone's clock to make sure we don't go over our time limit. He then flashes the stage lights during the last song telling us to wrap it up. He later told us that he was adding ambiance (we were using a fog machine as well). Who in the hell flashes lights for a few seconds to add ambiance?

Ladies and gentlemen, I have never felt so anxious during a set. Again, I understand that the bar is under pressure not to upset this pesky tenant, but you know what? DON'T BOOK HEAVY MUSIC AT YOUR BAR! Or start the show early so all the bands can play under no pressure.

I am only mentioning any of this because it happens every time we play at this club. Please. Let this be a warning to bands that play this bar. It's a fun place that usually draws a lot of people just by name recognition alone. Scott Alcoholcaust, who books shows all over the city (not just the Knockout) is a fantastic promoter and I appreciate the shows he's organized and his work in the music scene over the years. It's just that damn sound guy.

Boris (w/ Helms Alee and Red Sparowes) @ the Great American Music Hall (8/26/10)

Going to stoner/doom/experimental shows at the Great American Music Hall is always a treat. Not only is it one of my favorite venues in the city but it's awesome experiencing loud and abrasive music in a place that used to be a classy dance hall almost 100 years ago.

Opening the evening was Tacoma's Hemls Alee who's blend of sludge and drone rock was pretty good for an opener. Their songs were short, for the style, and kinda reminded me the Minutemen in such a way that where most doom/sludge songs begin to take off, they wrap it up. My only complaint is that their set was a little too long and their sound began to have less of an appeal.

Next was Red Sparowes. I saw these guys a few years back open for Neurosis and they blew me away. They had played amazing shoe-gaze with a really intense visual back drop. This time, their set didn't seem to go anywhere. The visuals were far less stellar and seemed more like a collage from some visual arts student. Their songs carried on for too long and the drums seemed to be the only thing holding the band together. Everyone else was just noodling around. Good thing I was upstairs munching on some fries for most of their set.

Finally, Boris hits the stage. As the first notes of 'Farewell' sound out, the stage is immediately engulfed in fog, completely capturing the drama of this amazing song off the Pink album. Having never seen Boris I didn't know what to expect. With a band that covers pretty much every corner of rock and experimental music, I'd figure they're pick a sound and stick with it. I was very wrong. Boris's 90+ minute set covered almost every era of their career. They organized the set so that the mood changed every few songs. After a few slower/droned out jams they'd kick into classics from Pink, Heavy Rocks and Smile. The most stand out moment for me was a song featuring Wata. The song was something I could almost see Bjork performing. A single light shined down on her head will the rest of the band filled in the song with single subtle notes here and there. Freaking amazing. Only a band with such varying material could pull off a set as long as they did without tiring the audience. This was by far one of the best shows I've seen this summer.

Pop quiz, hot shot (tribute to the service industry)

Of the three cups in the picture, which one is the medium?

About 1/3 of the customers that come into my place of work always ask me about the size of our coffee cups.

"Is this the small?" Empirical evidence suggests that off the three cups, the smallest cup is (drum roll please) SMALL! I understand that every coffee shop use different sized cups, but when three cups are placed in size order and it's still a mystery as to which size is which? Fail! This is not rocket science people. (It also gets me when people come in as ask what kind of food we serve, when the store is covered, wall to wall, with BIG COLORFUL menus)

It finally occurred to me the other day that most people's jobs do not require them to do such fundamental tasks, such as sort out things by size (or maybe they do and everyone's an idiot). Most jobs require us to analyze texts or current events or race around a busy office space doing relatively complicated tasks. We're wired to be capable of doing some of the most complicated things on a regular basis that we simply forget about the most basic things, especially when they are right in front of us. Does knowing this make failing to compute simple tasks okay? That's up to you to decide.

Responsible Procreation?

I know plenty has been said about the Prop. 8 and the legal battle appealing it, but I have to get my punches in, just like everyone else. I am very much a supporter of same-sex unions (don't get me started on issues of civil rights). I don't care who or what you love- if you want to get married nothing should stop you. Yesterday I read a brief article on sfgate.com. The article discussed nothing new, at least for me. But one of the last paragraphs really annoyed me.

"In documents filed Monday morning, ban backers argued that gay marriages would harm the state's interest in promoting responsible procreation through heterosexual marriage."
(Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2010/08/16/national/a102638D80.DTL#ixzz0wt0BDbbW)

Responsible procreation? First off, I thought this legal battle was over whether or not same-sex couples can legally marry. When did childbirth come into the picture and why? What I found most interesting about this statement was that supporters of Prop. 8 assume that if a couple (straight or gay) is to get married that they are going to have have kids. How many straight married couples DON'T have kids? How many couples even want to have kids? How many couples have kids out of wedlock? How many single parents are out there recieving social services from the state because they spouse can't help? Is the Octamom a good example of responsible procreation? HELL NO! Backers of Prop. 8 are desperate for any argument, even if it doesn't entirely apply to whether or not same-sex couples can or cannot get married. Marriage does not always lead to children.

Also, isn't our planet over populated as it is? We should be adopting children. Think about all the kids in orphanages and foster homes because of heterosexual couples who 'responsibly procreated' but then couldn't be responsible enough to take care of the kid.

Also, today the Federal Gov't decided to put another hold hold on same-sex marriages. The sad part about all this is that those who don't want gays and lesbians to wed probably never have to interact with them on a daily basis. This religious moral oppression is ridiculous and makes no sense.

I think it's insane that there are those out there that feel the need to make laws on private/personal issues: suicide, sexual preference, marriage, etc. Whatever you do behind close doors is your own thing. For people to bring private issues into the public is something that shouldn't be. Those who oppose these types of private issues are so morally sterile and brainwashed that they believe it's their job to bring privacy into the public spot light when these issues do no always need to (I do support forms of social services to deal with issues, but laws banning them, nope). It doesn't matter if you're straight or homosexual. If you're a good person, that's all that matters. Then again, I guess one could argue what 'good' means. Fuck it. Sorry for the rant.

David Byrne wants a turkey sandwich

So David Byrne didn't actually come into my work, but I had a quick day dream that he did. Coincidentally I was listening to the Talking Head's album 'More Songs About Buildings and Food' while this took place. It's nothing profound, but I do think it's kinda funny. Here's what went down...

It's the morning shift at my job, Toy Boat, and I'm cutting up some tomatoes. I think the song 'Thank you for sending me and angel' was playing, and all of the sudden I hear this voice, "Hi," the voice says in a soft, subtly drawn out tone. I know that voice. Who doesn't, right?
I turn around and it's HIM! David Byrne of the Talking Heads, and he's wearing the giant suit! No one else is in the store, except for Bob. Bob is sitting by the window sipping a cup of coffee and staring at Mr. Byrne in his suit.
"Hey," is all I could say. That was all I could say to David FREAKIN' Byrne of the Talking Heads! "How can I help you?" didn't cross my mind.
"I'd like something to eat," He said. His entire body is motionless, except for his lips. "Can I get a turkey sandwich?"
"Sure, David Byrne." My hands start staggering around the sandwich station. Here I am, making David Byrne a sandwich, I don't even know what he likes on his sandwich, but I keep making this sandwich while he's standing almost lifeless (almost like the giant from Twin Peaks) on the other side of the counter. I wonder why he isn't sitting down. I don't care to ask. The guy could have come behind the counter and made his own sandwich and I wouldn't have stopped him. I decided to put only lettuce, tomato and mayo on the turkey sandwich. I figured it would be simple enough. "Your sandwich is ready."
"Thank you. Thank you very much. I've been looking forward to this all day." He stuck is hands out to grab the plate. The giant suit made his hands look small, smaller than usual. Maybe he has really small hands, I don't know. This was the first time I'd ever seen him in person. He turns around and sits right next to Bob, who looks up at this guy in a giant suit, and wants nothing to do with him.
"Time to hit up the park," Bob chuckles.
So there I am, alone in the store, and David Byrne is eating a sandwich I made for him. The store is silent now. I turn off the music and rushed to put something else on. David Byrne picks up the sandwich and takes a bite....

And that's all I remember folks. Coincidentally Joshua Smith (who's played in Drunk Horse, The Fucking Champs and Weakling) actually came into the store. I sold him tea and a pastry.

Stone Brewing- 14th Anniversary Emperial IPA

That's right folks, time for Stone's Anniversary brew. This baby is called Emperial due to is excessive use of English hops.

Upon opening this 22ozer I was immediately accosted (in a good way) by huge hop aroma. After the foam calmed down I plunged my nose into the cup to do some more searching. Great fresh hop aromas with some sweet notes in there as well, but not from the malt. The hue of the beer is pale, I'm guess not much malt is backing up the hop bombardment I'm about to experience. Don't be fooled, this is an IPA, the emperial title is not a play in the imperial title. Fair full body, lots of carbonation. Really interesting hop flavors going on. I would not expect this from Stone. Pine and citrus notes cut through after the bubbles massage your tongue. The beer has a earthy/pine finish. I think I taste hints of peaches or as well, probably from the yeast. It's always nice to see Stone make such a well balanced, seasonal beer. Get yer hands on this tasty treat. It'll get ya drunk!

Kevin Sharp, it's not my fault

Kevin Sharp is the front man to the band Brutal Truth, one of the United States’ most influential grind bands. He’s also the author of an editorial column in Decibel Magazine called Grinding it Out. In issue no. 69 Mr. Sharp’s focus leans towards to what I call the ‘glory days’ of metal. By that, I mean the days before the Internet, when you had to work to acquire music. Tape trading made it possible for friends and other bands to hear demos of new bands. In short, music was earned, not handed to them on a silver platter via the click of a button. Sharp points out that you have to put in a lot more hours to build your music collection. “In a digital world, you hop on your Facebook page and spread opinions versus content like a viral rash. You can crawl into your basement and open Pro Tools on your laptop, email some kick-drums… Your older brother tape-traded and begged for something cool in the mail. He corresponded overseas, stood in line Tuesday morning for the next lot of releases.” (Decibel issue 69, 2010)

Mr. Sharp, thank you for reminding me of the current state of music, because apparently I wasn’t aware of it already. Forgive me if I’m not on my knees begging the metal masses for forgiveness for the digital age ruining something that was supposedly just fine in the first place. Having grown up in the 90s I fortunately remember the CD and while being the older sibling and the only one into metal, I was a lone soldier searching for music on my own. I started hunting for music in the early stages of the mp3. No myspace, no Facebook, just random, hardly publicized websites devoted to making rad music available. If I liked what I heard, I still had to go out and buy the album, sometimes on websites, but it still resulted in a physical copy. Unfortunately we’re in a market where those in power dictate trends where practical reigns supreme. And that results in instant gratification. Labels, probably including yours, are releasing digital albums, 1s and 0s, no material copy. If you thought the analogue age of was dead, don’t worry the CD is on its way out too.

Don’t get me wrong Mr. Sharp. I wish I could have experienced the days of snail mail and cassette tape demos. The DIY spirit is still very much alive, just different. Bands still put out vinyl, sometimes exclusively. Band still trade their music, in my experience they do this in person, at shows. To this day I still try and earn the music I listen to. I read blogs and magazines and still go through the ritual of going to record stores and buying albums with good ol’ fashioned cash. Things will never be the same, but there are ways to get by and avoid the trends. So please, stop talking in hindsight, like my parents, and keep on making music. I get enough guilt trips from my mother, I don’t need one from you, kind sir. Perhaps your rise to fame has removed you from all this, who knows. People are still trying to hold on to a version of what you hold dear, it just can’t be the same as it once was.

(it should be duly noted that I think, regardless of Mr. Sharp's views, I thank Decibel magazine for publishing them. The same can't be said for Terrorizer and Gene Hoglan)

Danzig strikes again!

You gotta love Danzig. Somehow he's managed to spend the last 20+ (post-Misfit) years crooning to some to the most memorable metal albums, and maintain some mystique. I think it's partially because most of people who talk to him want to talk about the misfits, and he doesn't. That being said, Mr. Danzig has been fortunate enough to continue giving us some of the best music, from a solo career no less, for quite some time. Albums 1-4, amazing. Now, flashing forward to 2010, Glenn and his gang has graced us with one of the best albums this year, 'Death Red Sabaoth'. Decibel Magazine got it spot on right when they said that could easily have been 'Danzig-5'. This sounds like the follow up to '4' in so many ways. It's almost as if he went back in time again got the old line up to write this album, The production and song-writing sound like they were written in the same session as '4'. The production is dirty and has a hint of lo-fi in the mix. Danzig has managed to capture a unique version of a 'vintage' sound. This album sounds modern, in a respect, but there's a lo-fi aspect to that is classically Danzig. Manages to capture the classic hard rockin' doom/croon that we once knew from the 90's material. As I am writing this during my first listen through, I cannot name a standout track, but so far everything is great. In an age swarming with tech-death and Black Metal all around us, this is a great departure from it all. This album is so heavy yet I don't know who can do this, the same way. This is a great return to form for the old fans. For the new fans, this is a great glimpse into his back catalog.

The fried chicken cadillac rides!

Welcome to my blog. I'm not really good with introductions, so deal with it. I'm hopefully going to write about a bit of everything: music, 'politics', food, beer, and installments of short stories. Hopefully to content will be more interesting than the general topics.

ENJOY!