KORN III: live Ballroom Blitz Tour SLC 6/5/10
~ ThoRnswRath finally meets his rock'n'roll heroes ~

The sitched logo of my adidas-era Korn shirt, itself older than a lot of the kids at the show.

I've been a die hard fan of this band for over 15 years. This was my 17th Korn show, so you know how excited I was to be there. My brother and I showed up right at 7:30 when the doors had already opened (at 6:00) and I had missed my opportunity at the "pre-listening party." (You read that correctly: I decided to stay home another hour or so and drink more beers, instead of listening to more of Korn III. I've already heard too much as it is--practically half the album--so no leaks for me until July 13.)

We showed up and I texted dionn from KS and she texted back if I wanted a mg. I said yeah but my bro was with me tho'. She said she only had one but I had to meet her RIGHT NOW by the T-shirt stand, so we headed straight over there. Lucky 4 me too cuz dionn was there and she sez "all U have to do is get them to sign this poster 4 a girl who's holding our VIP seats" and I said "yeah I'll do it," just like that. I was wearing an oldskool, longsleeve black adidas-era shirt (stitched logo depicted above) that's kinda tattered around the edges. It was my 2nd Korn T-shirt, purchased at Lupo's bar in Providence, Rhode Island, back in '96, during my 2nd Korn show. It turns out, dionn got the extra meet'n'greet pass from blindanddirty, another KSer who I am most grateful for.

Here's what the meet'n'greet sticker looks like [one-third actual size], which I told my bro to apply to my forearm like a tat--and he slapped it right on the juncture of the inside of my elbow, where junkies shoot up. (I want to say right now I don't condone heroin use, only Korn use lol)

This sticker was on the upper, inner forearm of my
adidas Korn-T, making me look like "a junky 4 koRn"

After a few minutes of waiting nervously, we were whisked away, and I darted forward along with the flow and the next thing you know, we're led past the crowd and backstage where I see Ray Luzier posing for a pic with a female fan, a big smile on his face and obviously having a blast. I waved hello and he waved back as we were led out into the parking lot, and around one of the tour buses. On the other side of the bus we find that we're maybe 20th in line of about 35 fans or so. Someone from Korn's crew made the informal announcement that there was only "One Signature" and "No Pictures" allowed. I wasn't going to try and get a pic with my cellphone, and it turns out blindanddirty snapped a pic of me and Jonathan, and dionn got a pic of Munky and I shaking hands, so that worked out great.

The "Nightmare Revisited" soundtrack was the only official release at the time of the show featuring the new lineup with Ray Luzier on drums.

Jonathan was first to come down the line, so I told him "It's great to finally meet you after all these years, man" and we shook hands. I used my verbal ninja technique on him, telling him the poster was 4 a girl who was saving us seats, while the Nightmare Revisited liner notes (readily alongside there, under my thumb) lay folded open to the orange page next to Korn's bio, and I stuttered out "this is the first official release with Ray in the band, that I know of..." and his Sharpee pounced on it, he happily scribbled his autograph once again without a care, with that quirky, affable smile on his face. He seemed really happy to be there with us. At the next guy in line, he told us all about meeting African tribes while on tour and shit.

Next came Fieldy, he was all relaxed smiles and easily jotted down his sig twice for me, as well. When he signed my Nightmare Revisited linersheet, he was all "Whoa, you mean that's out already? Learn somethin' new every day," and he moved on to the next guy. I got a good view of his right arm, from the shoulder down clown in a zoot suit standin in some city alleyway, that was one of the sickest looking tats I've ever seen. Something about it just, pretty much says it all. I don't know, I'm down with the clown thing, tho'. I think it was Fieldy that I told "That's dionn from KS, U gotta represent, dionn!" when he was signing her stuff, and he said "KS, they're my friends," so we got our shout-out it in, there. (Yes, dionn tried to give Fieldy a SL, UT shirt, but he refused it, and I have to say, I think he was being as nice as he could about it, just in his own way. Now that he's "saved" and has a family, it makes sense to me he wouldn't want to wear that shirt, and he said it wasn't his style. Honestly, I was pretty spellstruck or starbound for the whole meet'n'greet, cuz I can't remember if it was Munky who I also mentioned KS to, or what. But one of em definitely said "KS, they're my friends" and I'm pretty sure it was Fieldy.)

When Ray came through, I thanked him for continuing Korn's legacy, and that he brought a perfect combo of picking up from where David left off, and going beyond with his own style, and he said something about how he really appreciated us and the fans and I was all "We appreciate you!" and I think he was pretty happy when I showed him the Nightmare Revisited sheet with both Jon and Fieldy's autographs already on it. I made sure to tell him this was the first official release with him in it as a band (I know, I kept harping on that, but I couldn't help myself). He signed his name with a '10 after it, if you notice.

Munky came out last after a few minutes where people speculated whether he was going to show. I made a comment like "Munky always showz" and then sure enough, there came Mr. James Shaffer himself, happily signing down the line of fans. When he got to me, I told him this was my 17th show and he pointed at my tattered old Korn shirt and made a funny remark like "Ya, I can tell by the looks of that shirt, man" with a big Munky grin, and we all laughed. It was awesome and I must thank dionn again for snapping this way cool pic of me and the Munk shaking hands.

THE SETLIST

4U
DEAD BODIES EVERYWHERE
NEED TO
COMING UNDONE/WE WILL ROCK U
HERE TO STAY
FALLING AWAY FROM ME
OILDALE
SOMEBODY, SOMEONE
DID MY TIME
THROW ME AWAY
HELMET IN THE BUSH
FREAK ON A LEASH
BLIND

~encoRe~

SHOOTS AND LADDERS
CLOWN
GOT THE LIFE



Jonathan stirring up the pits during NEED TO. My cellphone barely survived.

As for the show itself, the setlist was pretty much the same for this tour. Notably different this time around, was the fact that the crowd was so stoked for Korn, they started a circle pit in the center of the floor before Korn went on stage. I think that's significant, because the only show I've ever really seen that happen for, is Slayer. (I met this one security guard that night, out on the back deck overlooking the sunset. He was drinking a beer, and he told me "the only shows I refuse to work are Slayer and Korn", so we drank to that.) All the guys in Korn were in top form, I honestly don't know how they manage to pull it off night after night with such renewed fervor, like that. I watched Ray a lot, and can now say with confidence they chose the right drummer to stand in for David. At the beginning of blind, he set off with a quick but thunderous "double triplicate" drum-intro before hastening into the familiar cymbal-tapping-intro his predecessor made famous. I have to say, I was impressed with that drum fluorish and his entire performance. They even gave him a classic, extended drum solo and it was really powerful, and possessed of a unique style all his own. Way impressive. Jonathan just tore it up onstage, he's really feeling these songs again and the audience just lapped it up. All four of them were having a blast, along with the hopping mad audience. From the crazy assortment of different age groups and types of people there, I can assure you all that Korn is Here To Stay for another decade at least.

KORN III: REMEMBER WHO YOU ARE

Trillions of bugs swarmed the parking lot lights after the Korn show let out.
They reminded me of all the crazed fukkers drawn to Korn's light.

ICONOCLAST CONTRA BLEED HATE

October 8, 2008 Salt Lake City

Burt's Tiki Lounge

Zodiac beckoning the spirits of impending madness that fuel this band, w/a black-bladed boot knife poised to slice his own throat

Lord Dying providing a breakneck assault from his axe of evil

Ricky The Gorepig strangling his bass in a blackened fury

Tony at his non-euclidian drumkit inciting frenzied chaos

The Zodiac's hate is all too real. This is not posturing, it is sonic assault--the true voice of the heathen

The bloodletting is real as well. You can see the boot knife hilt jutting out of his pocket. Zodiac used it to slice open his forehead and cheek at first. Then he sliced a wide open cut on the inside of his forearm a quarter inch deep. The blood began flowing freely and when he whipped his head back, droplets flung out and spattered me in the audience.

The music itself was a torrential outpouring of pure bestial hatred and rage, shifting from sporadic blastbeats punctuating an evermorphing guitar and bass attack that ranged from sinister oldschool blackmetal to an evil hybrid of death-thrash.

Thus ends another helter skelter performance of sonic annihilation from Iconoclast Contra, Salt Lake's own metal underground voice of the heathen.

Witchhaven from California never showed up. They missed out on the real deal over here. There were no punks at Burt's that night, nor were there any regulars. Just us metalheads got to enjoy a devastating performance from my friends Anthony, LD, Tony, and Ricky. Anthony and LD hail from the ashes of Ibex Throne and are also currently active in Gravecode Nebula; Tony plays guitar in The Obliterate Plague and was formerly in Taught By Birds and Anima Nera. Ricky is from the goregrind band Devoured Alive.

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Photos taken by Matilda from her 'Nex Cultus Photography' album on myspace.....

Used with permission. ....

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http://viewmorepics.myspace.com/index.cfm?fuseaction=user.viewPicture&friendID=5660946&albumId=1930909....

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mono with the wordless music orchestra NYC May 8, 2009

Reaching The Tattered Limits with DREDG and TORCHE

Torche's bassist lays down the cable slappage
While their drummer The Tasmanian Devil shreds the skins


Yarp - it was a hot show. The openers, a band called From Monument To Masses, were the sort of emo/indy band that I thought might lack, but they put on an interesting set full of weird rhythms [the bassplayer was annoying in his overtly slapdashery mannerisms (I hate that), but he put on a decent groove, although the soundboard guy was pretty bad - mainly he allowed too much bass, and some monitors were out for PC effects and whatnot]. Most of the show either the drummer was signalling the sound guy to UP this monitor or that one, and the vocalist did as well, so it got to be pretty distracting. However, somehow Monument To Masses delivered a pretty impressive set. Not something I'd go out of my way to purchase on CD, but I enjoyed hearing it live nonetheless.

Then the TORCHE roadies began assembling their stage gear. When they finally went on, well let me just say, at least one-fourth of the dredg kids left to either hang outside or up front by the vending machines, behind closed doors to mute the eardrum -destroying rock and roll that TORCHE delivered, and lemme tell ya somethin'. Ya, it was my first time seein' TORCHE - (I missed em last time around, when they toured with BORIS, no less) - but these 3 Floridians (I think they are) were like, if Tenacious D got the most insane fucking drummer ever - (and KG shed 85 pounds and worked out) - - that would be TORCHE [Guys in Torche: take note--that means I think you fucking rock Satan's bitchtits]. Their lead singer /guitarist looks like Jack Black's evil fucking twin. But its all about the drummer, with TORCHE. I'm serious: that motherfucker is probably the most wound-up, tightly coiled drummer I ever seen. He was a human tornado, reminescent of Bonzo due solely to how damned hard he hit the skins. Only, picture John Bonham on crack - (i.e, speed him up almost twice as fast) - -and you have the TORCHE drummer. A thing of unbelievable fury - like the Tasmanian Devil going apeshit. I really enjoyed the rock'n'roll fury that is TORCHE; whereas, at least one of my friends who went with, thought they were horrible. So did at least one-fourth of the young indy crowd who were there to see dredg (most of em probably for the first time) - they couldn't handle the testosterone-demon-fueled energy of TORCHE, leaving the up front area so their poor lil' indy ears wouldn't sustain so much damage, awwww. By all means I should have a sprained neck today (due to TORCHE), but I was rather relaxed during last night's show, so luckily I'm not feeling the whiplash this morning.





On comes dredg. One of the funniest things Gavin said was "We're still trying to get our "e" back from TORCHE -- they stole it from us." That got a good chuckle from a small portion of the crowd. Anyone there who was seeing dredg for the first time, was blown the mother fuck away. I was blown away, for the nth time. But you know how it is - (don't you?) - after you've seen a particular band over a half-dozen times, sometimes the parts of their set that have been most-repeated, start getting a tad old. I hate saying that, because these songs are as fresh as ever -in particular, if you haven't heard them nine times before. So yeah, there's a modicum of weariness with me when it comes to having to hear the same damn songs again and again - - but I brightened up immediately upon hearing the new shit. My favorite song of the night was this new one that I've dubbed "tattered limits" (the song title isn't out yet, or if so, I missed it), its a full-blown progressive grunge pop ballad of such heartbreaking vocal intensity, it literally hits you right out of the box with Gavin Hayes' most impassioned vocal delivery yet. [ed. note: I later learned this is the song "Ireland".] It really must be heard to be believed. When the new album drops (in June - its been pushed back yet again), hearing that song at maximum volume will be my main priority. A more impassioned vocal delivery I have seldom heard. Its melody is one-hundred-percent goosebump-inducing, and is exactly the reason this is one of my personal favorite bands that ever lived.

Dredg will be back in June, July, or August touring on the heels of this, their seminal "senior effort", or fourth album (by which all bands must be judged), what I honestly believe will be their "breakout album" - - watch for it. I've long believed that dredg will blow up as big as Pearl Jam, and I still believe it. Their rise to prominence among the greatest bands that ever existed is assured (and in the opinion of all their fans, already achieved). If you want to be taken on a musical journey that will carry your soul on winds of purified emotional catharsis, do not miss out on seeing this band live. Once you catch them without arms you'll never want to miss another show of theirs.

A note For When I'm Old And Gray:

JD& the SFA @the Orpheum in LA

the setlist:

System
Last Legal Drug
4U
Hey Daddy
Forsaken
Dirty
Alone I Break
Slept So Long
Love on the Rocks
Hushabye
Kick the PA
Not Meant for Me
Hold On
Blue Monday
Careless
The Chauffer
Tearjerker
Redeemer
Got the Life
Trash
Falling Away from Me




the lyrics from Satan's Night Out:

System

You fell away,
What more can I say?
The feelings evolved,
I won't let it out,
I can't replace...
Your screaming face,
Feeling the sickness inside

Why won't you die?
Your blood in mine…
We'll be fine…
Then your body will be mine

So many words
Can't describe my face
This feeling's evolved
So soon to break out
I can't relate
to a happy state
feeling the blood run inside

Why won't you die?
Your blood in mine…
We'll be fine…
Then your body will be mine

Why is everything so fucking hard for me?
Keep me down to what you think I should be!
Must you tempt me and provoke the ministry?
Keep on trying I’ll not die so easily

I will not die…

Why is everything so fucking hard for me?

I will not die…

Why is everything so fucking hard for me?

I will not die…

Why won't you die?
Your blood is mine….
We'll be fine….
Then your body will be mine (x 2)

Forsaken

I'm over it
You see I'm falling in this vast abyss
Clouded by memories of the past
At last I see...

I hear it fading, I can't speak it
Or else you will dig my grave
You feel them finding, always whining
Take my hand now be alive

[Chorus]
You see I cannot be forsaken
Because I'm not the only one
We walk amongst you feeding, raping
Must we hide from everyone?

I'm over it
Why can't we be together embrace it?
Sleeping so long taking off the mask
At last I see

My fear is fading, I can't speak it
Or else you will dig my grave
You feel them finding, always whining
Take my hand now be alive

[Chorus x 2]

Everyone
Everyone

Redeemer

The hunger inside given to me, makes me what I am
Always it is calling me, for the blood of man
They say I cannot be this, I am jaded, hiding from the day.
I can't bare, I cannot tame the hunger in me!

Oh, I say I did it always searching, you can't fuck with fate.
So instead you'll taste my pain.
The hunger inside given to me, makes me feel alive.
Always out stalking prey, in the dark I hide.
Feeling, falling, hating, feel like I am fading, hating life.

They say I cannot be this, I am jaded, hiding from the day.
I can't bear, I cannot tame the hunger in me...
Oh, I say I did it always searching, you can't fuck with fate.
So instead you'll taste my pain.

You say your life I'm taking, always bothering me, I can't take this anymore, I'm failing, always smothering me

You look down on me, hey what you see, take this gift from me, you will soon feed from me.

Nothing seems exciting, always the same hiding

It's haunting me. It's haunting me. It's haunting me. It's haunting me.

It's haunting me...


Not Meant For Me

You think you're smart
You're not, it's plain to see
That you want me to follow
It's killing me let's see
You've got the gall
Come take it all

The jury is coming
Coming to tear me apart
All this bitching and moaning
Come on it's on!

I'm trapped in this world
Lonely and fading
Heartbroke and waiting
For you to come
We are stuck in this world
That's not meant for me
For me...

So what you got
One last shot
It seems to me
That you're not needed
Come on!
It's killing me let's see
You got the gall
Come take it all

The jury is coming
coming to tear me apart
All this bitching and moaning
Come on it's on!

I'm trapped in this world
Lonely and fading
Heartbroke and waiting
For you to come
We are stuck in this world
That's not meant for me
For me...

I'm trapped in this world
Lonely and fading
Heartbroke and waiting
For you to come
We are stuck in this world
That's not meant for me
For me...

I'm trapped in this world
Lonely and fading
Heartbroke and waiting
For you to come
We are stuck in this world
That's not meant for me...

For me...
For me...


Slept So Long

Walking
Waiting
Alone without a care
Hoping
And hating
Things that I can't bear

Did you think it's cool
To walk right up
To take my life
And fuck it up
Well did you?
Well did you?

I see hell in your eyes
Taken in by surprise (surprise)
Touching you makes me feel alive
Touching you makes me die inside

Walking, Waiting
Alone without a care
Hoping
And hating
Things that I can't bear

Did you think it's cool
To walk right up
To take my life
And fuck it up
Well did you?

I hate you!

I see hell in your eyes
Taken in by surprise
And touching you makes me feel alive
Touching you makes me die inside

I've slept so long without you
It's tearing me apart too
How'd it get this far
Playing games with this old heart
I've killed a million petty souls
But I couldn't kill you

I've slept so long without you

I see hell in your eyes
Taken in by surprise
Touching you makes me feel alive
Touching you makes me die inside


Careless

The breathing of the ancient ones are seldom felt.
I alone have torn their dreams apart.
The pain of this has surely made me what I am
Eventually they all will tear me apart!

You're angry with the beating of
My careless, selfish heart.
You're chasing me cause I'm too close
Scared of what I can start.

I'm the one who's wrong, I know it's not my fault
I am here now I just did my part
It was all of you who made me what I am
It was all of you who cursed my heart

You're angry with the beating of
My careless, selfish heart.
You're chasing me cause I'm too close
Scared of what I can start.

You have forsaken me!
You mother fuckers!
You did this fucked up shit to me!
You fuckin' raped me!
And now... it's time... for me...
To be...
Set free...!
Wake up! Wake up!
Come to me
Wake up!
Be with me

-------end lyrics-------

Well it was Thorny's Night Out, I'll tell you what, I wanted to dress to the nines, but I put on my original Korn T-shirt on to best represent how I felt to actually be there to witness the legendary JD and the SFA perform not only a slew of Korn hits, but the 5 songs Jonathan wrote for Anne Rice's the Vampire Lestat and his band Satan's Night Out. If you haven't already figured out Jonathan Davis is the Vampire Lestat -- you've got some catching up to do.

We arrived downtown LA at the Orpheum theater early enough to be about 10th in line. After we were ushered inside, I plunked down my hard-earned cash for an Alone I Break T-shirt - an awesome shirt by the way -- and the $20 JDSFA DVD - - the original (before it was mass produced). We sidled up to the bar and bought some red wine for the evening's festivities. GODHEAD were about to open up, and I walked by Kalen Chase after getting our wines. I acknowledged him with a slight nod and lift of my wine glass as we exchanged knowing glances.

As we walked into the concert hall itself, we were struck by its lush velvet grandeur, accented by a deep heartblood crimson offset by polished woodwork and gothic carvings. On stage Jon's oaken red velvet throne took the center spotlight; the various instruments and amps arranged artfully about. There was an almost suit & tie atmosphere, very posh and appropriate for this occasion. Miles Mosely occupied stage right, JD sat the entire time in his throne, spazzing out like a five year old possessed of tourettes and trying to shake the demons from his dreadlocks as he grimaced, howled, and sang his heart out to everyone's stunned pleasure. And the songs, DAMN - these songs are fukking HARD.


System kicked off things in prime form, Jonathan practically lurching from his seated position on his wooden throne. There was a savage majesty in the air which the opening song captured perfectly with its intense lyrical vampire addiction theme. Before the last note faded away they launched into a rare bonus korn song from SYOTOS "Last Legal Drug", a worthy performance replete with topical, biting satire from a leering JD. But it was the third song that really reached deep into the collective mindset of the crowd and delivered an explosive anthem I'll never forget: 4U solo. Jon's impassioned vocal delivery to this small group of gathered fans skewered straight through every heart in the room, nailing us to our seats from the intensity of feeling he lent his voice.

"This shit right here is for you!
All your faces I can see
You all think it's about me
I'm about to break
This is my fate.
Am I still damned to a life
Of misery and hate?
You...you'll never know
What I'd do for you!
What you all
Put me through,
I do it for you.
I could have
Never lived
If it wasn't
FOR YOU..."

Dirty and Alone I Break coming one after the other was more than a nice surprise. It was a devastating one-two combo punch to the gut that left everyone gasping for breath when it was over. Just when you thought it couldn't get any more intense than the vocal delivery of 4U, Jon brings it up a notch for a harrowing and beautiful rendition of Alone I Break, something that cannot be described to be appreciated, it must simply be experienced. Little did I know at the time, when the last notes of that song faded away, that we weren't even halfway through the set, yet. This show started from the Top Ledge and just sailed up and away past the highest clouds to claim territory hitherto unimagined by a wholly unprepared audience. To say it carried us all away to another world is an understatement.



The show was chock -full of surprises, one of the best of which was the Jon/Shenkar jam before Careless. Jonathan told the audience to shut our eyes and he'd carry us all away to another place. The tune began with him starting a strident, Arabic wail for a few measures, to which Shenkar would add his ancient mideastern wail, of a higher pitch; they exchanged these haunting ululations for a few measures, and Jonathan's were enough to send chills up our spines. Then, while Shenkar played his haunting mideastern violin, Jon unleashed the most passionate mideastern style vocal portion I've ever heard this side of Nusrat Fateh Ali Khan: I was shocked at the impressiveness of his delivery. This truly was a live musical performance the likes of which peter gabriel could get lost in. It was an extended and unhinged duet of ululations that spread goosebumps over my arms, and the only word that comes to mind is epic. After several minutes of this glorious atmospheric intro, as the high-pitched violin notes decayed in the air and JD's vocal echoes faded in our ears, Jon reached over and grabbed a small viola for the next portion of this incredible intro, which obviously - wasn't over yet! Jon actually plucked out this cool melodic rhythm on a repeat loop, by hand, and allowed Shenkar to build yet another of his fantastic violin soloes. After this section, Jon grabbed the bow yet again for a third, final portion where he soloed an impressive atmospheric finale. "Blown Away" doesn't really come close to describing how I felt after it was over: that intro was one of the high points of the show, and it was only the beginning of the song. Shenkar jammed a bloodthirsty frenzy of insane ancient Vampire music. If Anne Rice had been there - -she'd have fainted straight away.

What a glorious performance, one for the ages. That night in LA was so off the hook, every last song reeled me right through the evening, like a helpless fish baited, hooked, and dragged to shore. There is a lot of weight behind the new song Jonathan had slid up his sleeve, 'Careless'. The song's refrain, which goes

"You're angry with the beating of
My careless, selfish heart.
You're chasing me cause I'm too close
Scared of what I can start"

equals the ease with which jon's original korn lyrics (from selftitled) make declarations involving his direct personal world. (Jon's solo stuff has every bit of immediacy the original korn songs had; the main difference being, the musical accompaniment has morphed into a post-Gabrielesque world-music tinged with a mideastern gothic vampire vibe.) If that isn't off the hook, I don't know what is.

Some of the lyrics in Careless (if abstracted from their intent for the Queen of the Damned) become startling if you apply their meaning towards Head's departure. [*Now please don't get me wrong - I think Head is a great person and this has nothing to do with being against him - its just a meditation on a certain perspective Jon's lyrics have here.] Its notable throughout many lines, even to his final plea to "Wake up!" and "Come to me" and "Be with me"... "Wake up!" . . . even if it wasn't intended, it remains a reference to a [korn] song [from iSsuEs] nonetheless, the very song which pleads "please just let it go, all our heads are flown, let's take the stage and remember what we play for." These are strong words because they accentuate that rending we are all too familiar with, that of one's mate's formerly-stated and bound beliefs suddenly coming undone, when they flip a bitch and drop you like a cold stone. "You have forsaken me", this at least parallels the feelings behind the most recent korn songs off Untitled, only here they're straight out of the cage starving and insane. The passion contained within the emotional subtext of Careless, when filtered and refined through the many layers of the band's history, lends it a degree of heaviness nearly impossible to convey without having "been there"; that is, been moved yourself beyond description by the ferocity with which Jon delivers his words straight from the heart. Not to mention that same intensity expressed continuously since the band's inception and original tour kicked off back in '94. Few singers from heavy rock bands can match Jonathan's sustained intensity of ballistic emotive expression, going on for over a decade and a half now. The subtext in the song Careless is all too clear, and somehow, channeling the podium upon which the ancient vampire Lestat perceives his world, Jonathan funnels and amplifies koRn's own subtextual elements into something I can only describe as "anthemic despair". The vampire music and koRn's own aggro style inform and complement each other quite effectively. One thirsts for honesty & integrity while the other thirsts for blood and redemption. What is blood if not honest and integral? And who is this Jonathan Davis, if not the Vampire Lestat himself? He is an absolute original musician and singer to watch out for during the next decade, that's who he is.

mythTaken
skinny puppy live in SLC may29, 2007
 review'd by thoRnswRath

hiT me in the sTreeTs

ShIfted through sealed-out salt lake city streets traPped
in my glassSteel bubble, rolling rubber wheels along aSphalt
until I parked on the 1 available metered spot on the street
just outside the Depot.   It was nine twenty in the evening,
and skInny puPpy were finally beginning their set as I could
hear the industrial strength beats muffled through reinforced
concrete and bullet proof glass.  I flashed my pass and
advanced to the woman who would stamp my hand.  
Flying up the stairs like a wraith I rounded the corners
past lone wandering skinny nomads w/eager faces.

Alex the Berzerker of The Obliterate Plague showed up shortly thereafter, right as the final echoes
of ugLi dissolved away into the dissonance of the assembling crowd.
Jesus wants to be ugLi.  Jesus wants to be ugLi. 

After a few beers we bumped into Anthony of the infernal Ibex Throne
 

Our good friend Darin Gonzales, most notorious tattoo artist of these necro regions.  [Even Bloody Gir appeared subliminally during the strobe lit shenanigans]

The following is largely a picTorial review of the evening,
with reMixed impressions.

The too dark stage slowly opened one bloody red eye,
revealing justin's militant drumming kit shadow cast
in trance inducing spiraling stage lights
playing a film up on the back drop,
an icebreaker for the far too frail
rash reflections convulsing to the spasmolytic
industrial introduction of the evening's
sinister symphonics to come. 
infected with violent thought
the mass hypnosis began as
the crowd stared at the blood
on the wall of a canvas screen
propped up on stage right.

the lights morphed to blue
in a quick social deception.
the icebreaker finished its
diminished anguished crescendoes,
to bring it down into ugLi,
I was alone, mission complete,
this is the story, soaking too deep
I felt like a ghost man in a neuworld
drenched in the blue hues of that light.

no where better than to be caged
with skinny puppy in a glass house
of smothered hopes, just looking for something
just looking for something now. 

the atmosfear floodlit blue once again
revealing distorted images captured
on a merry go round of demented
basement beatz struck out in a frenzy
by cevin 'jack flash pumpkinhead' Key

mark walk antagonizing deep down
rhythms sewing seeds of hate
keeping the fears in line w/neon sigils
woven a magikal geas on our faces

settling deeper into the undertow
justin's Kit aglow in seaweed greens
the stage right screen awash in
skinny puppy shadow play

the killing game continues with
nivek Ogre up against the blood
spattered wall, tormentor and Worlock

nivek a blue streak in a pulsing
slamdancing haven of soothing
ferocity dulling the anamorphic
pain the audience assimilates

morpheus laughing at his own shadow
naked in a flood of shared memories
drowning under 200 years of love
and addiction draining mourned faces

i am the undisputed god, oh yeah.

Master of it All dictating into the mic

Ogre preaching to his captive choiR

skinny puppy Unleashed at long last
so you want me to suck so you want
me to suck so you want me to suck

justin bennet beating the fuck out of his kit
under the drowning blue lights of a lost dream

dramatic tensions build towards a shattering climax
as an escaped Ogre from the mental asylum of
sanctified nightmares escapes and re-emerges
from the crumbling chysaLis of his addiction

skinny puppy live in salt lake city mythmaker 2007
reaching through to crucify a disconsolate crowd

wow, wow waw waaaaow . . .
mayonaise sunshine conducting a cacophony
mythmaker taking screams and making them into dreams

its time to meet the soul
the meaning of control
and in the stink of luck
my god feels false and sold
to exercise the things it cannot hold

why try overcoming this
the strangest things unwind
and undermine the undecided thing
unlife starts with death undeath
starts with life you and I live to die

"death feels like a butterfly,
can't escape the skyline,
real relationships must die
underneath the sky"

skinny puppy ended their set
with a brilliant rendition of HAZE.
nivek Ogre wore his infamous
cyberhelmet while on the screen
behind him orange blossoms
of nuclear fire imploded to the
burgeoning orchestration of
the unfolding song.  sanctified
our great disguise. reach.  through.
lives destined.  in the womb.
crawling through.  The music
built to a symphonic climax
which thundered in synchronized
blasts from the floodlights,
blinding a mesmerized audience
in the pulsating flow of ambiantz

caught in the flood of the haze
as skinny puppy finished their
set in a blinding flash of dissolving
light drowning the motley crew
of punks with fists raised in loving salute

 

 

dredg + judgement day Saturday night Nov 22 2008 Salt Lake City - - the Final Performance of DREDG's Fall Tour with supporting acts The Sunbears from Fla and JUDGEMENT DAY from San Francisco.

The Sunbears were just two guys, one plays keyboard and the other on a drumkit. They had this cool primary-coloured display screen behind them showcasing elementary rainbow coloured graphics while they played the most lo-fi, yet richly textured and deeply resonant synthesizer rock. They were charming and kept my attention throughout their set, exuding a happy vibe of playfulness. I highly recommend The Sunbears if that sounds like your cup o' tea.


Next up were JUDGEMENT DAY - - the drummer from Sunbears told us they were going to tear us a new one, and boy was that the understatement of the night. I heard someone in the crowd say they were "metal", so I began preparing myself. Boy was I surprised to find out these guys are string-metal: A violin, a cello, and a Drumkit. No vocals. No overdubs. Just 3 dudes hellbent on jamming for Satan some string fuckin metal for the Apocalypse. Yes they reminded me (instantly) of Apocalyptica - - there's just no way around it. But someone said something I agree with: Apocalyptica by way of the Dirty Three.

The two string players are brothers, Anton and Lewis Patzner. Anton is the tall skinny one with the curly hair and bandana, wielding his violin like a crazed maestro and constantly honing the razor's edge of their music's higher end. He was Jimmy Page on crack and really had a commanding stage presence, taking the forefront and lead duties to mind-melting limits. Meanwhile his brother Lewis, the shorter and more boyish looking of the two, hunched over that bass cello of his at a stoop that never let up, not throughout the entire show. His head down and short haircut with its bangs covering his face, he kept up the pace with a bassline and rhythm so off the hook you couldn't take your eyes off him. The guy is a virtuoso and it was unbelievable to me that these two brothers, with just a violin and cello, could deliver such a maelstrom of unhinged metal fury- - backed up by Jon Bush's relentless drumming. JUDGEMENT DAY blew me away, plain and simple. I knew when they finished their set that I would be walking away with their T-shirt and album, there was just no way I was about to leave that show without a copy of their album in my hands. It was released in '04 - - recorded in their garage. I met their drummer at the T-shirt stand after the show - his name is Jon. As for the "String Bros", Anton went on tour with BRIGHT EYES with his violin since '04 apparantly, leaving little to no room for JUDGEMENT DAY themselves to play; while his brother Lewis received his cello performance degree from the The Peabody Conservatory of Music in Baltimore.

First thing I asked Jon at the merch counter was "Hey man, did you guys ever play with the Devil Makes Three, by any chance?" and he looked at me frankly surprised and replied "matter of fact, we did play with them once. . ." I told him "I had a feeling. They're from California too of course and it just flashed on me you'd be amazing together."

Well make no mistake about it: JUDGEMENT DAY is back and they rock like a mutha! Here is their official website, check it out and be sure to click on their YouTube video to get a taste of their own personal brand of "Apocalypse".


http://www.stringmetal.com

Order their album DARK OPUS you won't be let down (unless "string metal" is just too heavy for you, haha).

Which brings us to the legendary dredg. I don't even know where to begin. If you've seen dredg as many times as I have, you already know they are the special band earmarked for greatness along the lines of Pink Floyd or Pearl Jam. You already know that if for some ungodly and senseless reason they never make it that big- -that's ok too, because their musical integrity is untouchable both composition-wise and performance -wise. You already know no amount of commercial success can dictate what to do with pure magic. Dredg is in a win-win situation because of this. Gavin Hayes will one day attain his place amidst the rock pantheon as one of the golden voices. Dino Campanella has solidly carved out his spot as belonging in the top tier of rock drummers, and I don't care who you come up with -- Dino belongs in the Top ten, easily. The stuff he does is indescribably complex yet straight-forward as well; I think he is the hardest -hitting drummer in alternative rock today, with a deceptive style which incorperates insane signatures amidst the basic beat. He is a wonder and a delight to behold live. If you've never seen dredg in concert and you are into rock music in the least bit -- you owe it to yourself to see these guys live before you die.

But how could I forget Drew on his bass? That kid's playing is straight up dope. Solid basslines with just the right amount of flex and specs. I can't really describe it, other than he more than holds his own, he's carved his place. And then there's Mark. Probably the most overlooked Dredg member, but clearly, when you stop and think about it, perhaps the most important. This guy calmly puts out the most beautifully evolved guitar riffs and effects you could imagine, really the core of dredg's unique sound. Without Mark you have no Dredg, period. Yes these four cats are indispensable, all four of them need each other as much as we need them. Dredg is a real band. Hallelujah.

They were in tip -top form that night. Part of that was because it was the final show of the tour. The Patzner Bros from Judgement Day joined Dredg for the last several songs, classic staple material from El Cielo mainly, and here is where the performance lifted itself up and beyond any Dredg performance I've seen yet - and this was my 7th or 8th show (I've already lost count). Lewis Patzner's deeply inspired bass cello filled in the bottom end of dredg's music very well, while Anton's insane lead-violin playing added the perfect texture and depth to sections of those old songs. By the end of their inspired performance I was 100% ready to have the Patzner Bros added as official members of dredg - - they were that good together. When the show was over, I remained stunned. My friend Andy caught one of Gavin's crumpled up poems he occasionally types up onstage with his typewriter he always sets up front and center. I've been dying for one of these crumpled up dredg poems since, forever. Andy was thoughtful enough to give it to me after the show, that was awesome of him. When I get a chance I am going to scan it onto my harddrive, and display it here as well as on dredg's myspace. All it said on the crumpled up sheet was the date and location (SLC) and the words "I couch surf" . . . so I am going to post it on their website and tell Gavin "our couch is open". Its been a long time coming but dredg have certainly cemented themselves into my favorite 21st century band.

They played a couple of songs from their upcoming album in March of 2009: it will be the coveted 4th album -- the senior effort by which all bands must be judged since the watermark standard in 1974, Led Zeppelin's IVth album. I've been using this 4th album watermark for decades now, and I can't even begin to tell you how stoked I am for this impending release. I can say without blinking an eye and with confidence that it will be Dredg's breakthrough album, in terms of musical and artistic integrity, if not in record sales or chart topping). The deeply rendered themes inherent to this band will have finally coalesced into that perfect offering, their seminal fourth album, only four months away. Something to live for.