Sons Of Satan

Venom Inc.
DNA Lounge, San Francisco
January 20, 2016

A couple of days before this show the anticipation was so thick in the air amongst old school Metal friends you could cut it with a knife.  Yes, there are 2 versions of "Venom" active now here in the 21st Century.  One is fronted by Cronos (aka Venom) and the other features the other 2/3 of the original band plus Tony Dolan of Atomkraft on vocals / bass (aka Venom Inc.).  Honesty is my only excuse:  People focus too much on Cronos being "Venom".  The original guitar tone of Mantas and the drumming of Abaddon were as much a part of the original band as anything else.  This makes Venom Inc. completely valid plus Tony Dolan was there back in The Day in Newcastle, England fronting Atomkraft.  Ironically, my teenage Metal 'zine featured both bands in 1983:

The Atomkraft article was probably the first thing ever written about the band (Peace in Rest, Sam Kress).  A couple of hours before the show things suddenly got crazy old school full circle with this message from the band's tour manager:

"Hi Brian - Just shooting an email to you real quick - I've got ya down for tonight. Also wanted to mention that I have that copy of Whiplash mag - bought at my local metal shop in Arlington TX when it came out!! Hell yes!"

Crazy, right!?

When I arrived at the venue it was immediately obvious the show had brought a lot of old school Metalheads out of the woodwork.  It felt like a high school reunion seeing so many familiar faces; not bad for a Wednesday school night.  Beers were shared with some good friends before all Hell broke loose (in a fantastic way of course).

As the support bands played I met up with John, the tour manager, and it was as if we'd known each other for 30 years.  Most people believe only the old Punk scenes had a D.I.Y. underground ethic.. but the early-80's Metal scene worldwide had just as much of that.  The fact that John and I met for the first time here in the 21st Century but our easy conversation was like we were right back in 1983 was a testament to our roots (bloody roots).   It was during this time I also met Tony "The Demolition Man" Dolan and a circle started 33 years ago with my old Whiplash 'zine was completed.  Amazing!

 The only other times "Venom" has visited San Francisco

I was standing at stage left as the house lights went down for the headliners and I noticed someone standing to my right... and it was Abaddon.. drumsticks in hand... ready for battle... and he still looks exactly as he did in 1983... long hair and aviator sunglasses!  It was a profound moment because tonight was the first time Abaddon and Mantas had performed in San Francisco since 1985 on that first U.S. Tour.  The original band never returned here after that.  Crazy.

Obviously there was some doubts in my head about how this version of "Venom" would be onstage.  However, my expectations were fueled by very positive reports from friends who had seen Venom Inc. before... The set opened with 'Prime Evil' and then for the next 90 minutes it was full-on classic greatest hits one after another after another after another.  'Die Hard' into 'Don't Burn The Witch' into 'Live Like An Angel (Die Like A Devil)' into 'Buried Alive' into 'Raise The Dead'...  My expectations were completely hung, drawn, and quartered.  The band was fantastic... and judging by the rabid crowd action on the floor below my San Francisco Metal brothers and sisters felt the same.

[Photo courtesy of Umlaut's iPhone]

As the next song, 'One Thousand Days In Sodom', got going someone came up next to me, fist in the air, and shouted the lyrics into my ear as the band roared onstage.  It was the guy who sings 'Master Of Puppets'.   It was adorable watching the guy who sings 'Master Of Puppets' play air guitar and drums for the entire set... and after the show he hung out for a long while chatting and reminiscing with the headliners. 

[Photo courtesy of Venom Inc.]

Like I said earlier, tonight felt like a high school reunion.. and it was pretty fucking cool that the class valedictorian showed up, right?

When it comes to vintage Metal bands it's not often that the present is BETTER than the past.  However, Venom in this incarnation was without question BETTER than the "Venom" that last played in San Francisco in 2006.  The performance tonight was about THE SONGS and was one of the most focused, no bullshit sets by a vintage Metal band that I've seen in recent years.  Tony Dolan's vocal delivery and bass playing is more direct and less cheesy than Cronos... and his stage presence more appropriate for the songs now.

[Photo courtesy of Umlaut's iPhone]

This BAND is fucking tight!  No sloppy rambling interludes.  I started geeking out watching Mantas and Abaddon playing these songs again.  At times I only watched each of them, soaking in their individual performances, and being reminded how important each of them is to what "Venom" meant to me.  Mantas' guitar tone.  Abaddon's double bass thunder.  Even after all these years it's all still right where it belongs.  Time travel does exist.

The main set closed with probably my favorite Venom song, 'Sons Of Satan', and the epic timeless evening was encored to a close with 'Black Metal' into 'Countess Bathory' into 'Witching Hour'.. and then the gates to Hell were closed and the band said goodnight.  The after show hang was something the teenage me would not have believed possible as all of the band members told me separately how they still have their copies of my old 'zine Whiplash.  Wow..

For those who care, chew on this setlist:

• Prime Evil 
• Die Hard 
• Don't Burn the Witch 
• Live Like an Angel (Die Like a Devil) 
• Buried Alive 
• Raise the Dead 
• One Thousand Days in Sodom 
• Warhead 
• Schizoid
• The Seven Gates of Hell 
• In Nomine Satanas 
• Bloodlust 
• Sons of Satan 
• Welcome to Hell 
• Black Metal 
• Countess Bathory 
• Witching Hour

All killer... No filler.

The subject of Venom (Cronos) vs. Venom Inc. (Mantas, Abaddon, Demolition Man) is not something I'm going to debate.  I have not seen the Cronos band since 2006 when he last visited The Bay Area.. but I have seen the recent footage posted online.  That being said, Venom Inc. captures the essence of what made the original band iconic to me in my salad days.  Ironically, a day or so after the show, I received a message from the band asking me a question:

I will leave it at that. 

I didn't do a merch audit... I was too distracted all night.  On the way back to the car, some pimply-faced teenagers called me a fag.  It's rare for Umlaut to still be buzzing with excitement about a show days after it happened... but that's how I still feel after Venom Inc..  Amazing and this photo was 33 years in the making:

Abaddon.. Mantas.. Whiplash.. Demolition Man
[Photo courtesy of Photo Ray]

"Join Venom's Legions... 'cause we're going wild.."

The Lads Are Back In Town

Loop
Great American Music Hall, San Francisco
May 9, 2014

In the late-80's and into the early-90's I abandoned Metal for various reason; mainly because I was bored with it.  I gravitated toward other bands and genres that had loud guitars and one of those bands was Loop... along with their peers and rivals The Jesus & Mary Chain and Spacemen 3.  For the newbies, click HERE for a good piece on Loop, their history, and why you should give a shit about them (Note:  The link to a "Loop" Facebook page at the bottom of the article is wrong.. so don't bother visiting it.).  Tonight was just one stop on the band's first U.S. Tour in 24 years. 

Going into the show I felt like I was walking back into 1991 and I was very dubious about it.  When you see a band that you followed 20+ years ago you remember them through rose colored glasses.   The reality of seeing Loop here in the 21st Century had the potential to be a huge reality check bummer that could confirm that I was an old fart with no grounding in the present.  Thankfully Loop was not a bummer.. but they were a reality check.. but in the best way.  Also, in the room with me tonight were a couple of friends who I've known for over 20 years including one who introduced me to Loop (and many other influential bands) a couple of lifetimes ago when we were co-workers.  Yes, it was a full circle show for Umlaut.

As soon as Loop walked onstage and Robert Hampson picked up his guitar and filled the space with his THICK guitar tone it was like no time or days or years had passed since 1991.  I actually turned to my friends and held up The Claw... which you kidz normally display for a silly Black Metal band.. but to me it means the grip of TONE.  Then Loop here in 2014 cut the rope and dropped the room into their signature song 'Soundheads' and a figurative screwdriver was jammed into my skull for the next 10 minutes... and it felt good.  For the remainder of the night my head was shoved into a bucket filled with profound tone and volume that I rarely experience here in the 21st Century.  Favorite song of the set?  'Pulse', dude... 'Pulse'.  Yes, many bands are "loud" but few bands now are capable of harnessing "loud" and ride it like a bucking bronco.  Few bands wrestle with "loud" and bend and mold it as you would molten glass.  Even after all these years Loop can still do that.

 [Photo courtesy of English Bob]

Back in The Day when I'd see a band like Loop, who filled the air with atmosphere that would crush eardrums, I'd close my eyes and shove my psyche into their dark space.  I haven't done that in a long time until tonight... I suppose some might call it meditation or whatever Hippie Shit might define it... but for me I've only been able to do it in the presence of a great live band of the same mindset.  Loop are one of those bands for me.   A couple of lifetimes ago, Loop were one of the bands that showed me you could fuck people up with cerebral volume instead of simplistically elbowing them in a mosh pit.  In the mosh pit your body will get bruised... with Loop it's your mind... and the bruising is a good thing.

If you bought one of every Loop merch item you would have paid around $150 I think.  On the way back to the car, some pimply-faced teenagers called us fags.  It was life affirming to leave a show feeling truly inspired and reminded that some old shit isn't bogged down in narcissistic nostalgia.  Some old shit can still be relevant and youthful.  Then 96 hours later it was...

Skid Row / Black Star Riders
DNA Lounge, San Francisco
May 13, 2014

I avoided the "reunited" Thin Lizzy like it was the Ebola virus; I never saw them and it was on purpose.  How could they call themselves "Thin Lizzy" without Phil Lynott??  Blasphemy, right?  For the newbies:  The name "Thin Lizzy" was recently retired and the 2014 version renamed themselves Black Star Riders in order to continue playing music.  I applaud this move.  Peace in Rest, Phil.

Anyway, going into this show I felt like I was walking into a show that could make me feel very old and very disconnected.  As I've said many times in this space, seeing my old heroes can be a double edged sword... because how can my salad day memories of them live up to the reality of time and age?  Then again, I've also said many times that you should see your old heroes while you can because one day they will be gone.  However, I didn't decide to leave Casa de Umlaut for the DNA until literally only a few hours before doors; getting a late guest list confirmation will do that.

As the opening bands played I hung out and caught up with a few friends in the DNA's pizza parlor that is connected to the main room.  The space has turned into a nice element to seeing shows at the venue... and, holy shite, but Scott Gorham himself spent a couple of minutes hanging out in the pizza space as some backstage issue was sorted. I suppose it would have been too fanboy to have sent him a pizza slice.

I'll cut to the chase:  In order it was 'Are You Ready', 'Bad Reputation', 'Jailbreak', 'Rosalie', 'Emerald'... Then 'Cowboy Song' into 'The Boys Are Back In Town' to close.  In between they played some assorted Black Star Riders originals... most of which sounded suspiciously like Thin Lizzy songs.  However, I will cut them some slack especially since only 1/3 of the crowd seemed to know 'Bad Reputation'.... What. The. Fuck.  No matter... because when Gorham kicked into his solo during 'Bad Reputation' I looked over at my buddies and we all had the exact same look on our faces: "Fuck... Yeah.." Magic.

 [Photo courtesy of Sensory Abuse]

It's not often these days that I have an epiphany during a concert, but I had one during Black Star Riders.  It specifically happened as Scott Gorham stepped up and into his solo during 'Rosalie'.  I realized that tonight was a case of THE SONGS transcending the moment.  No, it wasn't Phil Lynott onstage... but it was his lifelong band brother Scott Gorham... and that is the closest thing to Thin Lizzy that is possible here in 2014.  Umlaut generally loathes cover bands (sorry friends who are in cover bands... honesty is my only excuse..) and for all intents and purposes Black Star Rider are a cover band.  

However, magically, the old Thin Lizzy songs that brought Scott Gorham back to San Francisco on this Tuesday night are still all powerful and timeless.  I also realized how I've taken these Thin Lizzy songs for granted and I was surprised how emotional I got during the set.  Magic... and 'Cowboy Song' combined with 'The Boys Are Back In Town' are the greatest bar songs, like, ever.. and if the boys wanna fight you better let 'em.  I will also add that Mr. Gorham still looks and plays and performs like a badass muthafucker and does not look like he's 63 years old.  A Guitar God of the highest order.

Anyway, yeah... Skid Row.   I was never into them... but for some reason '18 And Life' became a closet fave song for Umlaut somewhere over the past 20 years or whatever.  A spoiler alert look at the setlist said it was the 5th song of the set... and they played it...  and then I was gone.  Yes, some would say I was misguided especially since right after I ducked back into the club Scott Gorham appeared and I could have "met" him again... but that's not the way this night played out.  No worries or regrets.  "Time is my crime.."

I didn't do a merch audit tonight.  On the way back to the car, some pimply-faced teenagers called me a fag. I would see Black Star Riders again in a heartbeat to bask in the warm youthful embrace of those old Thin Lizzy songs led by Mr. Gorham again.  I listened to nothing but Thin Lizzy the next day and pulled this out of the Umlaut Archives:

Gorham signed it for me in 1992 when he came through town with a band called 21 Guns... but I only went to their in-store appearance and not their show.. and I had completely forgotten about 21 Guns until right now.

"That jukebox in the corner blasting out my favorite song...  
These nights are getting longer and it won't be long... It won't be long...  
Til Summer comes and The Boys are back in town."

Desert Cruiser

Truckfighters / Crowbot
DNA Lounge, San Francisco
March 20, 2014

The day started with me taking an 8:00am flight to Los Angeles and then spending all day in LaLa Land working.  Then I was back on a 7:00pm flight home. I was also in the throes of a Randy Rhoads nostalgia trip since the anniversary of his death was this week.

"Feeling like I should have kept my feet on the ground.. Waiting for the sun to appear.." 

Then at 9:30pm I was driving to the DNA to see Truckfighters who were due to go on at 10:30pm.  It was one of those surgically precise days that Umlaut has not pulled off in awhile.  Tonight was in the upstairs small room of the DNA.  It was cute how the DNA staff outside asked me twice what band I was there to see to make sure I didn't wander into the other event in their big room by mistake.  Regardless, the small upstairs room was nicely packed for Truckfighters which was a pleasant surprise on a school night. 

Crowbot weren't necessarily bad, but I think it's safe to say they have a lot of Monster Magnet on their iTunes.  During the first song the guitarist copped Steve Vai's stage move of flipping his guitar around his back in between riffs not once but twice... and then he did it a couple of more times.  Someone should have tapped him on the shoulder at that point and told him to stop; it was cute once, maybe twice, but unless you're Steve Vai just play, please.  I would have been really into them in 1994 but here in 2014 I had a private conversation with a beer during their set.

Admittedly, I did not know much about Truckfighters going into the show.  I also didn't find out until the next day that, despite having been a band for 13 years, tonight was Truckfighter's first visit ever to San Francisco.  I will cut to the chase and say that Truckfighters are my new favorite Swedish band.  They are bringing the power trio back!  How do you say "power trio" in Swedish?  I'm also thankful I was able to see their first S.F. show so I don't feel as much of a poser for not knowing about them, like, 9 years ago when their debut album came out.  It's the little things in life...

The band is definitely a high energy live act, but tonight they might have been tempered a bit by the small stage and the low ceiling of the DNA Annex.  It didn't matter because the band's strong songs, musicianship, and attitude more than made up for any jumping around they might have done otherwise.  I was impressed with how the dynamics of their songs wrapped the room with tones intertwining with riffs intertwining with a thundering bottom end and a profound fuzzy groove.

[Photo courtesy of Photo Ray]

The great Stoner Rock bands have a distinctive guitar tone that locks in with everything else, and that's exactly what Truckfighters have going on.  All of the bands use the same template, but the great ones add their own special sauce.  How do you say "special sauce" in Swedish?  Their attitude and personality also reminded me of another great Swedish Rock band The Hellacopters.  I'm enamored how the Truckfighters' heaviness isn't obvious until it crushes you like a 16-wheeler running without its headlights on as you cross the street at night... and then they serenade your crumpled body like a melodic breeze through the trees... only to run you over again.

If Stoner Rock had been born in a Swedish desert Truckfighters would be huge; fuzz with an accent.  Also, $12 tonight for Truckfighters seemed like a way better deal than the $50 for Queens of the Stone Age here next month.  The next day I went out (okay.. online) and ordered all of Truckfighters' albums.  It seems like a lot of things are done better in Sweden.  Why is that?

I didn't do a Truckfighters merch audit, but I only had $20 left on me and spent it on the vinyl of their Mania album.  On the way back to the car, some pimply-faced teenagers called me a fag.  It was really cool for jaded Umlaut to be won over by a band again; there is hope for me yet.

Sign Of The Wolf

Pentagram / Radio Moscow / Kings Destroy / Bedrücken

Bedrücken

Bedrücken

Bedrücken

DNA Lounge, San Francisco
February 25, 2014

Okay, this rant is just under 2 weeks after the event so I appear to be getting caught up with this space.  I'll cut to the chase and say this was the SHOW OF THE YEAR so far for Umlaut.  I was surprised it was sold out and the space was packed with young hipster and metal types... and also hipster metal types.  This surge in Pentagram love has to be a result of the Last Days Here documentary, right?  Makes sense, right?   Prior to leaving Casa de Umlaut this happened: 

Coffee after 6:00pm can only mean one thing:  Gig.

I walked into the DNA as the first band of the night was finishing up and I was surprised to see Umlaut friend Ami Lawless onstage fronting the band Bedrücken.  I had no idea!  I'll have to pay closer attention to the bill next time.  Apologies to Kings Destroy but I spent most of their set catching up with friends outside where it was easier to chat.  Good times. 

Radio Moscow were a very pleasant surprise!  My friends and I were bagging on their name while chatting outside, but when the band landed onstage with their Blue Cheer-like virtuosity and groove I was hooked.  It was also a pleasant surprise to watch the young hipster and metal types... and also the hipster metal types.. get behind Radio Moscow's retro volume curtain that was driven by guitarist Parker Grigg's magical right hand holding the plectrum.  It's not very often that my jaded head is impressed by a band sight unseen... but thankfully Radio Moscow hit me upside my noggin tonight and made me appreciate leaving Casa de Umlaut early enough to see them.  How do you say thank you in Russian with a Cali-San Diego accent by way of Iowa?  Evidently the band is originally from Iowa but now plants their feet in San Diego, which makes perfect sense.

Having original guitarist Victor Griffin teamed with Bobby Leibling is the key to Pentagram being a relevant band again instead of merely an oldies act.  Griffin's tone isn't thick but it's distinctive.  Having that tone in place onstage next to Leibling's sorcerer aura takes Pentagram to that ethereal level that few bands ever achieve.  The explosion of energy that the opening riff of the first song 'The Deist' set off in the room scorched me.

[Photo courtesy of Photo Ray]

'Forever My Queen' was dropped as the 2nd song of the set and launched the night into a magical and mystical level where it was masterfully maintained for the entirety of the 16-song set..  The crowd taking over the vocals for 'All Your Sins' was pure uncut awesome ("You can never win... Pay for all your sins..").  Then the sublime crowd action that broke out during 'Sign Of The Wolf' combined with the downright crushing performance made my month.  The bond between the band onstage and the sweaty crowd of hipster and metal types... and hipster metal types.. was profound and gave me hope for the future here in the 21st Century.  There was more crowd action and stage diving during Pentagram tonight than at all of the Metallica shows I've seen in the past 20 years combined.  I am being completely serious.  It obviously says a lot about the charisma and power of Bobby Leibling & Co. to elicit such a fevered response out of a Tuesday night audience.

The fantastic evening closed with a stomping version of '20 Buck Spin' and I kind of staggered out of the DNA.  Pentagram here in the 21st Century are still the real fucking deal. Amen and hallelujah!

I didn't do a merch audit because Pentagram didn't have the prices posted.  Odd.  On the way back to the car, some pimply-faced teenagers called us fags... but at least we didn't suffer the same fate as 2 of the bands on the bill who had their vans broken into and stuff stolen during the show.  Bummer.  However, I would like to think those bad vibes were leveled out by us ending the night at Taqueria Cancun for a celebratory midnight burrito.  I've been going to this Cancun location for over 20 years now and every time I'm there I remember that night circa 1992 when a guy came in trying to sell a chainsaw.  True story.

"Stories unfold but they've all been told when he sold his soul to the Pentagram..."

The Power & The Glory

Saxon / Fozzy

DNA Lounge, San Francisco
Roctober 6, 2013

 

I had not seen Saxon since April 1984 when they played a pair of Bay Area shows with Accept supporting.  However, I did see Biff Byford with Metallica when he joined them onstage for a rousing 'Motorcycle Man' a couple of years ago at Night One of their epic 30th Anniversary celebration at The Fillmore.  Before tonight, this was the last time Saxon played inside the city limits of San Francisco:

Crazy, right?

There were 4 support bands tonight... so I tried to time my arrival to miss most of them.  Apologies to the support bands but that's 3 support bands too many for this old man.  I entered the DNA just in time to witness Fozzy, featuring professional wrestler Chris Jericho on vocals, arrive onstage.  I basically know nothing about pro wrestling but it was obvious that there were a decent number of wrestling fans in attendance... including 2 guys wearing long coats with flashing lights attached to them. Evidently this flashy (literally..) outfit was Jericho's wrestling trademark or something.

 

[Photo courtesy of Harald O.]

Lame.  Anyway, I went back outside to chat with friends and noticed the Electric Cowboys leaving the building after their wrestling hero finished his set.   I've met Chris Jericho and he seemed like a really nice dude but his band is awful.  Honesty is my only excuse.  Anyway...

My old heroes Saxon arrived onstage featuring 3/5 of the classic lineup's members and charged straight into a new song that I didn't know (sorry, fellas) and then into a good version of 'Power & the Glory'.  Nice... raise your glasses high!  To be honest, I wasn't filled with as much nostalgia as I had expected since this was the first time I'd seen Saxon since those 1984 shows.

 [Photo courtesy of  Photo Ray]

Sometimes I have a hard time seeing the "older" bands from my youth here in the 21st Century.  My inner Teenage Metalhead remembers them back in the day when they ruled the world from big stages.  I guess seeing them now reminds me how time really does fly and it awakens those thoughts of mortality in my head.  Yes, sometimes Umlaut overthinks dark things... but it's true.  That said, Biff and the lads played a solid set and Biff himself still sounds and looks great at 62 years of age.  A solid selection of songs... new ones.. old classics.. and other songs I didn't know since I haven't bought a new Saxon album in 30 years.  Honesty is my only excuse.

'The Eagle Has Landed' was a nice vintage inclusion.  However, I was waiting to hear one song and one song only... because it's one of those songs that immediately takes me back to a specific time and place when I hear it.    All Music Geeks have those songs, right?  Saxon made me wait until the very last song of the night before they played 'Princess Of The Night'... but it was worth wait.

For that moment as "90 tons of thunder lighted up the sky" onstage in San Francisco once more after almost 30 years, I was taken right back to 1982-83 again.  In my head I was that teenage Metalhead again whose entire existence was Metal and NWOBHM; life was still very innocent then.  Life had not touched me with any bad times yet.  Actually, I had not experienced a lot in life in general at that time yet.  Metal was my life. To quote Saxon:

"Iron striking metal.. the sound of racing steel.. it's all I ever want to hear.. it's music to my ears.." 

This moment alone made the entire night worthwhile.  Meanwhile back in 1982 on Italian television:


Hilarious.

If you bought one of every Saxon merch item I think you would have paid around $120.  On the way back to the car, some pimply-faced teenagers called me a fag.  Ironically, Saxon would be the last band I would see in my 40's because at some point between typing this and my next post another year in my existence will have passed.  Crazy, man.. but life rolls on.

"To the power and the glory.. Raise your glasses high..."

New Blood

Landmine Marathon
DNA Lounge Annex, San Francisco
March 21, 2013

Twenty-eight years ago on this date Iron Maiden played San Francisco on the epic Powerslave Tour:

[From the Umlaut Archives]

The support band was Twisted Sister and the Maiden San Francisco crowd booed them.  True story. 'We Ain't Gonna Take It' was no 'Aces High'.

I've spent more time with Landmine Marathon than any other band over the past 20 years, but things have changed since the last time I saw them 9 months ago.  Unfortunately, after 8 years founding member and vocalist Grace Perry decided to leave the van and return to the real world.  Landmine faced the decision about what to do.  Thankfully, the band has kept their momentum going by bringing on Krysta Martinez (also vocalist for Northwest Grind merchants Transient) and this show was part of a brief 7 show West Coast run to tighten the band up before their first visit to Mexico City at the end of March.  Tonight was only the 4th time the new Landmine had shared a live stage together.

I went into the show feeling very weird about seeing Landmine without the lightning rod that was Grace Perry on the mic.  A couple of Landmine shows that I saw over the past 4 years rank as some of my favorite sets ever.  Could the band come close to recapturing that fury?  That was the thought in the back of my mind as I hung out with the guys and met Krysta for the first time.

The new version of Landmine felt *right* minutes into their set.   No, it's not the same band; the previous lineup had an underlying current of chaos onstage that sometimes ended with blood literally on the stage.  It was that chaos that made the band so great and one of my favorites. The current version of Landmine is not that... but that's not a negative. The band have put their head down and are now tighter than ever and Krysta lets the fury of the lyrics written by her predecessor carry her role in the band.  

[Photo courtesy of Photo Ray]

The setlist was a good cross section of 9 songs and they all worked great.  Opening with 'Shadows Fed To Tyrants' into the oldie 'Bile Towers' the set was tight and direct.  Any pre-show doubt that I had about Landmine were quickly erased.  'Morbidity' will always be a special song since it was played for the first time in Oakland last year.  The fury that Landmine has come to represent is still there.  The band is still just enough like their old selves to be familiar but also different enough with Krysta so I'm confident they won't simply try to mimic something that's gone.  New blood is a good thing.  Having the set close with a great version of 'Red Days' was perfect for me. 

If you bought one of every Landmine merch item you would have paid around $180.  On the way back to the car, some pimply-faced teenagers called me a fag.  According to the Umlaut Archives this was my 16th Landmine show in 8 cities and 5 states.  New blood is in. Life rolls on.

The Mouths Of Madness

Orchid / Glitter Wizard / Hell Fire
DNA Lounge, San Francisco
March 8, 2013

It was a cold and very windy night in San Francisco.. which of course was the perfect weather for this show.  Tonight's event was in the newish upstairs annex of the DNA, which I didn't even know about until a week ago.  With a capacity around half of the DNA's downstairs main room, the annex makes for a decent small venue for S.F..  My only complaint is they need a better sound system, but at least there are 2 exits because the space has that Great White Fire Trap feel when it's full of humans... and Umlaut ain't going out like that. 

The room was packed as Umlaut's favorite local Thrash kidz Hell Fire summoned the spirits of Old Metal.  I like these guys because they remind me of how I (we) were back in the original Bay Area Metal Days; they're genuine and not posers.  I admire how the Hell Fire guys live with Metal in their young hearts in that same unabashed way that I did in my Salad Days.  Stay tuned for their debut album as they are worthy torch bearers for the legacy of Murder In The Front Row.

I was dubious about Glitter Wizard given their hipster ironic sounding name and the singer's ironic looking white leather vest sans shirt look.  I was planning to watch a song or two before taking advantage of the in-and-out policy to get fresh air and a beer off site... but then I saw the saxophone Glitter Wizard had onstage and I was gone.  I was not in the mood to watch a band use a fucking saxophone in the name of Metal tonight.  Yes, the Stooges used saxophone during their Funhouse era, but they were the Stooges. Later, a couple of people told me the band wasn't "that bad".. so there you go.

As we made or way to a nearby bar a block away and then back again,  I couldn't help but notice the unusually large amount of vomit on the streets of San Francisco tonight... and it wasn't even that late yet.  Amateur night South of Market??  It was like a goddamn vomitorium; those damn hipsters mixing PBR and food trucks.  Anyway...

It had been 13 months since Orchid's last San Francisco show and it was obvious word has gotten around about them because the show was sold out with a good number turned away at the door.  The guys opened with their stunningly great new song 'Mouths Of Madness' and it was 1 of 4 new songs that Orchid played from their upcoming new album (out in April on Nuclear Blast).   Unfortunately, the subpar sound system of the DNA Annex didn't help Orchid, but their dark volume alchemy still managed to transcend the mortal restrictions they were working under.

[Photo courtesy of Photo Ray]

In the time since they last played on home soil the band has toured Europe twice and honed their craft to a titanic sharpness.  Yes, they still channel Sabbath '71 (what Doom band doesn't on some level?) but they continue to put the Orchid stamp on *that* sound.  The 11 songs of tonight's volume ritual was a nice reintroduction of the band to the local crowd, many of whom I'm sure had not seen them before judging from the strong "OMG!!  They're playing this song!" reaction to older songs like 'Eastern Woman' and 'He Who Walks Alone'.  With the release of their fantastic new album on the horizon (Yes, Umlaut has heard it... and it's spectacular.) and a 24 date European Tour in April and May (including a show supporting King Diamond in Germany) Orchid are primed to be the next big band out of The Bay Area.  Hear me now and believe me later.

[Photo courtesy of Photo Ray]

I have to take a moment and say how great the vibe was inside the venue tonight.  There were ALOT of friends in the crowded space and it really felt like "a scene" with all of that communal energy.  Hopefully this will continue since that kind of energy is a hit and miss commodity here in the fractured 21st Century.  Kudos to the Metal brother in the wheel chair who stayed up front for most of the show before navigating back to the bar during the chaotic Orchid set.

Number of Acid King shirts = 2 (including mine).  If you had bought one of every Orchid merch item you would have paid $250.  On the way back to the car, some pimply-faced teenagers called me a fag.  Before leaving I was able to have an Orchid vinyl moment:

The Vinyl Countdown with Guitar God Mark Thomas Baker

[Photo courtesy of Photo Ray]

No Veggie Option

Watain / Goatwhore / Black Anvil
DNA Lounge, San Francisco
November 17, 2010


It had been 19 days since my last gig, which I think is the longest break I’ve had all year between seeing bands. Those of you who know what I do to pay my mortgage know that even when I’m not seeing bands I’m still *around* bands… So, yeah, my life pretty much revolves around bands 24/7… for better or worse. I had been looking forward to this show ever since this tour was announced in the wake of the Behemoth / Watain tour being cancelled. However, I’ll just cut to the chase and say sometimes anticipation and reality don’t always live up to the hype in my head... but sometimes life is like that, man.

I *think* I saw a bit of Black Anvil's set back in March at the Scion Rock Fest in Ohio. I liked what their guitarist was doing tonight... but couldn't figure out if his sound was supposed to be that way or if it was because the sound mix was fucked up; I think it was probably a combination. I like Black Anvil’s New Yawk City take on “Black Metal”; Metal with a touch of Hardcore and they perform it well. Unfortunately, as much as I like the DNA, this was one of those DNA shows where the sound was not dialed in the way it should have been. Satan needs a new sound guy.

By my count this was Goatwhore's 5th or 6th Bay Area show on this album cycle; Umlaut always appreciates Road Dogs. However, while I respect their Road Dog ways this was one of the weakest Goatwhore sets I’ve seen. Maybe it was the smallish crowd during their set or their sound that was on the wrong side of shitty, but the set was simply routine to me. Gauntlet…fist… point… scream… guitar solo. Repeat. I hate to knock the boyz from N’awlins… but I’m not going to lie... I wasn't feeling 'em tonight. Gauntlet…fist… point… scream… guitar solo. Man, I would love an oyster po’boy right now.

Evidently Vancouver has been the only city so far on this tour that Watain has been allowed to use all of their stage props (pyro, a dozen or so rotting pigs heads, and pigs blood). I was hoping S.F. would live up to its liberal stereotype and be just as open minded as the Canadians... but, alas, the local health and fire codes reduced the Swedes to simply smearing pigs blood on themselves and their stage clothes. I guess having tofu impaled onstage would not have had the same effect as the pigs heads... and given the sanitized nature of the show it was funny to still see the stage monitors wrapped in plastic to protect them.

Come to think of it, I suppose it's probably not the healthiest thing to be in the front row for Watain and have pigs blood mixed with Swedish sweat splashed on you during a show... but Watain fans are certainly more hardcore than those pussies at a GWAR concert who simply get sprayed with colored water.

Watain annoints San Francisco with blood and sweat... literally.
(Photo courtesy of Sensory Abuse)

Opening with the new song ‘Malfeitor’, Watain were still visually effective despite being denied their usual staging. The banners and metal tritons and upside down crosses set the tone even before the band came onstage... Although the tritons would have been more impressively Black Metal with pigs heads affixed to them. The initial attack provided by the band's Dean guitar endorsement was compelling at first... but I quickly started thinking again that Satan needs a new sound guy; the sound was muddy at best.

I've liked Watain's recorded works and their latest Lawless Darkness CD has been in heavy rotation for me since its release. However, as with other Black Metal bands in their class, Watain's live sound frustrates me. The genre’s elite tend to have thin guitar tones that are meant to blend with the rest of the band to create one engulfing Black Metal cloud. While this works in the studio, it generally means a shitty live sound in most cases (at least to my ears). The sound is like a carcass with no meat on the bone; there’s nothing to chew on. There's no TONE... Sinking your teeth into a mass of meat (or wheat gluton for my vegetarian / vegan friends) is infinitely more satisfying than gnawing on a bone… at least that’s the way I like it. That being said, Watain do legitimately fly the Black Metal flag under the stage lights... but some pyro and the stench and sight of animal carcasses onstage would have distracted me from the shitty sound.

(Photo courtesy of Sensory Abuse)

Anyway, I wasn’t inspired by this show at all; I know, not very Metal of me. It was nice to get out on a Wednesday night… It was nice to see some bands… It was nice to see some friends… but it was one of those nights where the show didn’t live up to the hype in my head. It was the complete opposite of my recent Triptykon experience.

If you bought one of every Watain merch item you would have paid around $220. On the way back to the car, some pimply-faced teenagers called us fags. The next morning I saw Neal Schon's Porsche in the parking lot at work; I think it's safe to say Neal In The Sky has never played with a pig's head impaled onstage.

HAIL SEITAN!

Click HERE to see Photo Ray's shots from the night!

Rage

Corrosion Of Conformity / Goatsnake / Eagle Twin / Black Breath / Righteous Fool
DNA Lounge, San Francisco
August 10, 2010

Earlier in the day, Toby Rage, one of the absolute legends of the original 80's Bay Area Metal Scene, passed away from injuries he suffered in a jet ski accident. It was ironic that the original lineup of C.O.C. were playing tonight since I'm sure Toby created mayhem at many of their shows back in The Day.

Toby onstage with Exodus - Berkeley, August 1984
(Photo by Umlaut)

R.I.P... Kidz these days don't... even... know.

Practically next door at Slim's was the other Metal show in town tonight featuring Devil Driver / Kataklysm / Saviours / Skeletonwitch... and I could have done a doubleheader... and my name was on the headliner's guest list... but I decided to keep it simple and stay at the DNA especially since my night was going to involve an intermission of sorts.

I arrived late but just in time to catch the last song of Righteous Fool's set, which is a band made up of Mike (bass) and Reed (drums) of C.O.C. and another guy on guitar. I can't say much more than that since I basically missed them... Oh well.. but 1/2 of C.O.C. onstage bright and early in the show was different.

Black Breath:

Photo courtesy of Sensory Abuse

I've been wanting to see Black Breath for at least a year since I picked up their excellent Razor to Oblivion EP (4-songs... 15 minutes..), but I kept missing them. Their latest CD has been getting a good amount of spins on Umlaut's stereo and you can't go too wrong with a band who takes their name from Tolkien (For the newbies: Black Breath is the toxic aura given off by the Nazgûl). The band hit the stage hard and generated some good heat during their 30 minutes with a slice 'n dice selection of older and new songs. The space wasn't terribly crowded this early so Black Breath attempted to ratchet things up a notch when Neil the singer jumped off the stage to generate some better pit action. Nice attempt, lad. At the end of the day, I'd have to say I need to see Black Breath when they're playing a smaller room like Thee Parkside where they can get in the face of an audience instead of being removed from them on a big stage... I also need to get The Lord of the Rings Trilogy on Blu-Ray.

Eagle Twin: This is where my night got kind of crazy (but not in a bad way). I watched 1 song of Eagle Twin's Doom Duo Sludge (Black Cobra do the volume duo thing better IMO) and then had to bail for a quick trip back to Casa de Umlaut, then to SFO to pick up Skychick, then back to Casa de Umlaut to drop her off. Then I raced back to the DNA, parked, saw a couple of friends outside smoking and ducked back inside in time to see...

Goatsnake:

Photo courtesy of Sensory Abuse

I'm guessing that I probably missed no more than 2 songs of their set; thankfully the show was running a little behind schedule. After I ducked inside I zigzagged my way up to the front and stood in front of Greg Anderson as he laid down his 6-string tone and then I remembered that it was fucking Scott Reeder (Kyuss!!) on bass and Greg Rogers (The Obsessed!!) on drums. Having members of Kyuss, The Obsessed, Sunn O))), Wool, and Scream onstage together was one of the highlights of the year for me. Umlaut is a Doom Guy and I'm totally down for a set of black groove like Goatsnake. Their set was exactly what I needed to hear on this day of death and reflection on the past. Remember when Kyuss played The Bottom of the Hill? Me too. After Goatsnake's soul shattering set I had to get my head back together after my mad airport dash... so I got a beer and ran into some old friends to pass the break with until...

Corrosion Of Conformity:

Photo courtesy of Sensory Abuse

When C.O.C. first came onto the scene it was around the time in my life when I was starting to listen to other music beyond Metal (Bob Dylan and Nick Cave mofos!) so I didn't latch onto them during the Metal / Punk Crossover of the late 80's. I'm more of a fan of the Pepper-era stuff just because that's when I started listening to them and seeing the band live. Hey! I'd rather be honest than a poser, man. However, even I knew the Animosity lineup of the band would bring people out of the woodwork... and it did, but it was mostly Old Metalheads and not very many Old Punks. Thankfully C.O.C. lived up to everyone's expectations. Woody's axe tone was dead on... Reed on drums was old school killer in that deceptively minimalist way... and I'd forgotten how great Mike is on bass. It sort of felt like a show from back in The Day except the pit action never got out of hand thanks to the DNA security running The Pit... which is so wrong. Let The Pit police itself! Number of kidz thrown out during C.O.C.'s set = 1.

According to the Umlaut Archives this was my 50th show of 2010. The night was like a collision of Umlaut's World past and present; sort of like the time machine that Rush used as a theme the night before! There were at least 6 people in the room who I've known since I was a teenager and there were alot of Umlaut Nation members and close friends in the house as well. Given the earlier passing of Toby Rage it was kind of eerie having so many eras of my life meeting in the DNA on this night. Trippy, man.

I had so much stuff going on in my head that I completely spaced on even looking at C.O.C.'s merch. Oh well... On the way back to the car, some pimply-faced teenagers called me a fag. When I got home I stayed up until 2:00am for no good reason...

Half Full Or Half Empty

Saint Vitus / Hammers Of Misfortune / Walken
DNA Lounge, San Francisco
January 27, 2010

I don't think anybody saw this one coming: Saint Vitus returning to S.F. only 5 months after their triumphantly epic DNA show in January!? Wow.. Prior to the show Umlaut met up with his brothers The Drummer and Johnny at Schmidt's for fine German food and beer. We haven't hung out in awhile so it was the perfect way to start the evening. Food 'n friends, man... Then DOOM.

Danzig was playing across town at The Regency so if you wanted to find the douchy Metal fans they weren't at the DNA tonight. However, I was shocked that the DNA was only 1/3 full when the Vitus show in January had been sold out and jam packed. I know the last show had been on a Friday night and this was a Sunday... but still.

The Umlaut Nation was nicely represented tonight... so a shout out to The Drummer, Johnny, Dave, Crow, The Bassist, and Wexford Girl.

Walken: Yet ANOTHER excellent Bay Area Metal band! Walken features 2/3 of another good Bay Area Metal band Grayceon; it's interesting how many bands share members around here... We arrived about halfway through their set and the band's heavy groove really set the tone for the night and made me forget the size of the crowd as I sipped my beer. I need to pay more attention to Walken, man.

Hammers Of Misfortune: The evening was special due to the debut of Hammers Of Misfortune's latest lineup featuring new vocalist Joe Hutton and Leila Abdul-Rauf (Saros / Amber Asylum / Vastum) on guitar and vocals. To be honest, Hammers has always been hit and miss for me, but having 2 of the Bay Area's best Metal guitarists in the lineup with John Cobbett (also of Ludicra) on the Les Paul and Leila on the SG takes Hammers to the next level for me immediately... because Umlaut is a sucker for harmonized lead guitars..

Vid by Umlaut

Somewhere Phil Lynott is smiling, right? If Hammers were from Sweden instead of The Mission District they'd probably be huge...

Saint Vitus: Although they were playing to a 2/3 empty space that they had sold out 5 months ago, the legends didn't seem to give a shit and they played BETTER than they had back in January. For some reason the size of the crowd was really bumming me out; if the recent passing of Ronnie James Dio taught us anything it's that Metalheads need to see their heroes at every possible opportunity. The rhythm section of Mark Adams and Henry Vasquez were even tighter than they had been in the Winter, Dave Chandler didn't chat as much in between songs this time (HAHA!) and his TONE was still magnificent.... and Wino is hitting a peak these days as his skills are sharpened to a awe inspiring level from both Vitus and Shrinebuilder being active.

Vid by Umlaut

The setlist was also switched around from 5 months ago and Vitus opened with 'I Bleed Black' > 'Clear Windowpane' which was a surprise... They also pulled 'Mystic Lady' out of the catalog... but as in January the show stopping, riveting moment was when Wino sang 'Dying Inside'. Is there a more compelling and personal song about battling personal demons? Nope... Near the end of the final song 'Born Too Late' Wino did a stage dive... Yes... You read that correctly... Wino did a stage dive... and I'm still not sure I saw it. So unexpected and... bizarre!

Okay, I gotta stop right here and say that I'm actually not really that inspired to write about this show. Maybe because I'm tired and I'm thinking about the plane I have to catch tomorrow... but anyway, YES Vitus' performance was fantastic... and I still worship them completely... but I didn't enjoy this show in general as much as the January one. The January gig was a momentous event because it was the first time in FOREVER that Saint Vitus had played a show in S.F. and the sweaty packed atmosphere inside the DNA that night felt momentous as the heroes were welcomed and worshiped. Tonight the crowd was small and we did welcome and worship our heroes... but I just couldn't get past how many people had decided not to come out and support this show.... because a legendary band like Vitus deserve better... especially in San Francisco.

Saint Vitus weren't selling the round embroidered logo patches this time; good thing I had gotten one at the January show. On the way back to the car, some pimply-faced teenagers called us fags. Man, I was tired the next day... I almost dozed off in a meeting at work. Seriously.

There's No Place Like Home

Pentagram / Ludicra / Slough Feg / Orchid
DNA Lounge, San Francisco
March 24, 2010

After having seen my last 8 shows in Ohio and Austin, it was nice getting back into the routine and see a show on my home turf again. Not long after getting into the Will Call line we ran into Bob, who used to work at the legendary Record Vault back in The Day. It was nice going to a show and see alot of familiar faces and Umlaut Nation friends.... The Scene... Home.

Once inside I had a flashback to a conversation I had last week in Austin at SxSW with someone about Orchid. We were sitting on a curb in Austin, killing time, and my friend was saying how they should have chosen another Black Sabbath song title for their name since there are, like, a dozen other bands named Orchid. He had a point. I'll cut *this* Orchid slack because I DO like them and I dig their new CD... but, man, they do cop ALOT of Black Sabbath circa 1970-71... The Orange amps... The Red SG. Their song 'Into The Sun' is the riff from 'Symptom Of The Universe'... The riff in their song 'Eastern Woman'... err.. "pays homage" to the riff from 'Children Of The Grave'. Their song 'No One Makes A Sound' is a bastard child of 'Supernaut'... but at least the bassist doesn't play a Rickenbacker. Sorry, Umlaut is a massive Sabbath geek... and anyone who's listened to their first 4 albums as intimately as me knows what I'm talking about. However, I don't mean to harsh on Orchid.... Hopefully they will bring something of their own to the Sabbath template in the future, like how Sleep used the Sabbath template but brought their own shit to the mix. I dig Orchid... and if I smoked weed they'd be playing during my nod time.


During Orchid's set there was some unnecessary drama with security over me accidently spilling some of my beer on a lady. Dudes, I was NOT drunk... sometimes gravity and an awkward move causes beer to spill... and I apologized to the lady and she accepted. No harm, no foul.. No need to go Jock on me.

Slough Feg has they've been around S.F. FOREVER. Back in the early-90's, when Umlaut was a xeroxed 'zine, the 'zine buyer at a now defunct comic store on Haight Street was an Umlaut fan and he always carried my issues... and he was the bassist in Slough Feg at the time (I forget his name). Fast forward to the 21st Century and I know people revere Slough Feg's brand of retro Metal and their longevity... but I've never connected with this band. As with Orchid, I understand why the kidz like it... but my old Thin Lizzy and Iron Maiden albums still hold up for me.

LUDICRA... NOW we're talking! They were the main reason why I was at the DNA tonight; THE undisputed headliners of The Bay Area Metal Scene! Having just seen Ludicra at Scion Fest in a basement I was beyond psyched to see them play a full set on a proper stage with a proper sound system behind them. Umlaut had some quality hang time with Ludicra in Ohio... and prior to their set I had some Ohio deja vu moments as I touched bases with Aesop at the merch table, Photo Ray and I chatted with Laurie about her Scion Fest experience... and I watched some of Slough Feg with Cobbett. The Scene. Home. As Ludicra were setting up their gear somebody came up to the stage and gave Cobbett a copy of George Benson's Weekend In L.A. live album.... and Cobbett played the riff from Benson's 'On Broadway' on his Les Paul. HILARIOUS! Music Geeks in The House!


According to The Umlaut Archives this was my 10th time seeing Ludicra. It's not often that I feel compelled to be against the stage for a band, but Ludicra are one of those bands who I've always been right up front for... They opened with a double shot of the new songs 'Stagnant Pond' > 'In Stable' and I was immediately sucked into the Ludicra universe as I've always been since the first time I saw them.

Ludicra's diabolical mix of Metal and Prog Rock is a force of unholy nature whose fury always catches me off guard when they play live. No matter how many times I've seen them, I'm never prepared for the intensity of their onslaught. The band is one of the most compelling and undeniable live bands I've ever seen. Ludicra create a wall of darkness and volume that is simply impenetrable.

During their set, as I have in the past, I've simply closed my eyes and let the band's music get into my head. Yeah, that's probably kinda Hippie Shit... but it's the reaction I have. Ludicra on this night was a religious experience... and I don't mean a "God" experience... I mean their songs and fury took me to a different place. The complexity of Ludicra's music (the interweaving guitars, melodies, vocals, heaviness, dynamics) is something that seems to translate BETTER onstage than on their recordings, which is the opposite of alot of bands. The new songs are just mindblowing and as brutal as Ludicra are I find their volume strangely and profoundly calming. Inner peace through mayhem. HAIL!!

I missed Pentagram last year when they played S.F. because I was out of town. Oh, man... Pentagram 2010... or aka The Bobby Leibling Band as a friend described it. Seeing Pentagram was in stark contrast to the Saint Vitus show a couple of months ago. Saint Vitus, another resurrected band from the past, were in top form musically and sounded completely relevant.... 2010's version of Pentagram not so much. Alot of it was probably due to the fact that the band's guitarist quit a week ago the day before the current U.S. Tour was scheduled to start... and evidently the new guitarist was hired within 6 HOURS. As we were waiting in the Will Call line, an old friend told me that during soundcheck Bobby told him their set would run 5 songs plus a "jam session". Uh-oh..... "Jam session".....

As Pentagram took the stage I knew what was coming. Whereas Ludicra came onstage as a unit, Pentagram looked like "The Bobby Leibling Band": The singer with some musicians. They didn't look like "a band"... and during the first song Bobby stood behind the new guitarist and I don't know if it was to coach him through the song... but it started getting a bit too homoerotic to me and I started feeling uncomfortable watching it... Not that there's anything wrong with that. I just prefer my Rockers to ROCK and not RUB. Just saying...


Anyway, I was just hoping they'd play the one song I wanted to hear earlier rather than later... and, thankfully, the 2nd song of the set was 'Forever My Queen'... and so we hit the exit. From what I heard later, I'm glad we made an early retreat before the 20 minute train wreck jam session...

I didn't do a merch audit, but before heading back to Casa de Umlaut we stopped for a midnight burrito in The Mission. Perfect. On the way back to the car, some pimply-faced teenagers called us fags. As I said earlier, it was nice to be seeing a local show again... The Scene. Home.