Metal Riot

Isis continue their stellar run of live post-break up releases with Live VII, a fantastic document of a set focusing mainly on the Wavering Radiant-era. Panopticon favorite “Wills Dissolve” again makes an appearance (as it did on Live III) as do a few other older songs- including a massive set closing version of signature post-metal chug anthem “Celestial” that can’t help but make you feel nostalgically recall just how big this outfit could sound and what a hole they left behind. Still, the majority of the songs here are the lengthy and more progressive and melodic forays found on the band’s final opus. This nine-song set was recorded on Feb. 25, 2010, at The Corner hotel in Melbourne, Australia during the band’s Soundwave Festival appearabce.  Mr. Aaron Harris mixed the album.

Hearing these live documents in the series, which some Lambgoat comments section type trolls who have never done shit with their lives have called unessential, is really awesome for real fans. I personally love that, say, Ian Mackaye did his extensive Fugazi Live series through Dischord, as it allows for cool versions and the development of the band over time to literally be heard in an organic, non studio setting. Some live albums fall flat, but with bands as exciting as Fugazi or Isis, that is not the case. You are always going to be hearing something special each time. Personally, the one time I saw them I was pretty trashed so it is great to have at least a second audio chance, or third or fourth or SEVENTH in this case.

I am in the minority among most post-metal snobs who personally liked Wavering Radiant perhaps even more than some of their earlier classics. Post chumming with Tool in, I think it was 2006 or 2007, the band really started to stretch their material out even more and expand their vocabulary as players. I for one found it exciting, though some people just don’t have the patience for that. It was kind of a precursor to some of the Palms stuff, but there was still a fair measure of harsh vocals as well.

The Wavering Radiant stuff sounds positively alive on this release, the band’s excitement from this era palpable. The watery grandeur of the hypnotic opening to “Ghost Key” is breathtaking and the rhythmic guitar parts really cut through on this version as the song progresses. The brief post-huge crescendo quiet ending of “Threshold Of Transformation” is another stunning section, almost befitting a calm yet cosmic spaghetti western.

All in all this gets very high marks because it is not only so cool to hear more organic versions of “Hall of the Dead” and a fit to exploding “Holy Tears”, but the simple breadth of what the band accomplishes and the ground covered here is far beyond the reach of most groups.

The best song on the new Faith No More record is now 100% more geriatric in a good way. this reminds me of when the little old ladies and old dudes sang Sonic Youth and Ramones in that old folks home. “Rainbows will bend for me” is still the best metal lyric of the year. Plus I am from Woodstock, NY so I appreciate that half the dudes in the band in this clip look like Levon Helm, who we miss a lot around here. Win.

What a salad of 1,000 delights. Listening to the boogie blues of Voodelic’s Conjure LP and then this sludgy news item lands in my ear.

The Melvins are streaming their forthcoming album, Hold It In (Oct. 14, Ipecac Recordings), in its entirety via Pandora right herez.

Joining Buzz Osborne and Dale Crover for the 12-song album are Butthole Surfers’ guitar player Paul Leary and bass player JD Pinkus. Hold It In was recorded in both Los Angeles and Austin earlier this year.

Digital pre-orders for Hold It In are available now via iTunes with the album lead-off, “Bride of Crankenstein,” offered as an immediate download upon order here. Rolling Stone previously premiered “Brass Cupcake,” saying the new record “sounds like the Cars and Devo plugging into Blue Cheer’s amp stacks.”

The Melvins kick off a round of U.S. tour dates on Oct. 15 in Sacramento at Assembly, with label mates Le Butcherettes opening through Oct. 30. Osborne, Crover and Pinkus will be the touring line-up for this run of dates.

HERE for tour dates and Seig Howdy.

The Melvins return with Hold It In, their first studio album as a quartet since 2010’s The Bride Screams Murder, on Oct. 14.

 Joining Buzz Osborne and Dale Crover for the 12-song outing are Butthole Surfers’ guitar player Paul Leary and bass player JD Pinkus.  Hold It In was recorded in both Los Angeles and Austin earlier this year.

 “Hold It In is a refreshing piece of fiction in a boring world of fact and bullsh*t,” said Osborne.  “Paul is one of the best guitar players I have ever heard and Pinkus has an outside the box type of approach to both guitar and bass that you just have to let it ride.  I can’t believe this actually happened.  I’m thrilled.”

“It’s very rare you get a chance to work with three folks from the ‘Break A Wish’ foundation, all at the same time,” said Pinkus.  “I believe they’ll remember their experience with me forever (or until they finally all lose their fight with S.I.D.S).”

Melvins chieftan Chief Buzz…er, King Buzzo is prepared to hit the road in support of This Machine Kills Artists, the solo acoustic record from the Grunge Godfather out June 3rd on the mighty Ipecac. There are pretty much no words for how cool the acoustic song “Dark Brown Teeth” that Buzzo already released is, so go check it out HERE for yourself. Any of you cry babies who say acoustic aint sludgy enough need to go sit on a road cone. …Machine is sure to be full of cool twists and turns. Anybody remember how doom’s other ruler Wino made Adrift, one of the best records of his career, a few years ago? ‘Nuff saidskeez.

Click HERE for the tour dates. Photo by Mackie Osbourne

One of the premier shows of the summer was Tomahawk‘s raucous return to New York City. I hadn’t seen the Mike Patton led supergroup live in years (I think since an Ipecac showcase with Melt Banana, The Melvins and maybe even Isis…a long time ago), but they were back strong and in fighting shape. 2013 has seen some top notch releases, from The Ocean’s tidal tour de force Pelagial to the latest twists-and-turns filled power metal opus Nemesis from Stratovarius, but Tomahawk’s hard rock return Oddfellows is right smack near the top of the heap.

I’ll raise some eyebrows saying this, but Tomahawk has been my favorite Patton project since the group’s inception. As much as I love Faith No More (especially stone cold classic Angel Dust and oft-forgotten Bogus Journey soundtrack gem “The Perfect Crime”), Duane Denison of Jesus Lizard fame is just such a beast on guitar that anything with his name on it is hard to beat. He’s kind of one of those Tony Iommi type guitarists who play many riffs that sound related but which all absolutely kill. I mean, this is the guy who wrote “Dancing Naked Ladies” and “Wheelchair Epidemic”, for heck’s sake. Add John Stanier on the kit, who has progressed leaps and bounds since his already untouchable early years with the mighty Helmet, and (nowadays) Trevor Dunn on bass and ’nuff said.

Click HERE to read the full review