When I first watched the preview for Alive, I felt like it would definitely be a game-changer.  Disconnected and sporadic, it showed a strobe-lit and slow-motion shot of Tomas Haake drumming and Jens Kidman headbanging as their music rolled on underneath.  The clip really displayed the potential of how an expertly crafted and fresh combination of Meshuggah’s music with an intense video presentation could create a live DVD experience as unique as the band.  Unfortunately, the preview was just a teaser, and Meshuggah chose the safe route and made an impressive, yet overall dull DVD.

Like most modern concert DVDs, the camera work and audio are all crystal clear on Alive.  But, this high-quality capture is almost a negative because of the band’s ultra-tight live sound and improv-free set.  It’s a subjective issue, but you basically get the album version of these songs set into motion with none of the differences that can make live albums a bit more dynamic and fun.  The setlist is a bit heavy on Nothing songs, and while this is by no means a bad thing, since this is their first official live release, I would’ve liked more of a career retrospective and hear some stuff from Destroy Erase Improve.  This was filmed during the ObZen tour, but since it combines video from different nights, there’s really no reason why they couldn’t have added some songs to the set for certain shows and then cherry-picked a list that was representative of the band’s history.  The crowd at these shows also seems lifeless.  Maybe because much of it is filmed in Japan and Canada, but the guys in Meshuggah need to take a cue from Iron Maiden and see how an insane, European crowd can bring new life to a live recording.

There are many minor gripes with the overall DVD package that reek of laziness and haste.  First is the name; Alive.  Say what you want about KISS and how they’re cheesy, corporate shills and/or massive egomaniacs, but for live concert recordings, they own the title “Alive“.  Anthrax and Snot tried to use this title also, and everyone says the same thing: “I’m sure they’re going to get a call from Gene Simmons’ lawyer”.  C’mon guys, there wasn’t any other titles out there that would’ve captured the essence of the live show?  Also, the cover art is laughably bad, from the poor Photo-shopping, to the blatant ripoff of the Alien movie poster.  Seriously???  The band that has been so creatively involved in their mindfuck album art is using some graphic-design, student project as their first DVD cover?  They must’ve figured that it was going to be torrented all over the web anyway, so why bother sinking a bunch of dough into an original statement for the shelves at Best Buy.

Another thing that irritated me and ruined the “concert experience” of the DVD were the profile segments that interrupted the flow of the setlist.  Some concert DVDs do this and really for the life of me I don’t understand why.  Lamb of God’s Killadelphia, and Sepultura’s Under Seige: Live in Barcelona are two shining examples of incredible concerts that are marred by constant interruptions.  Sepultura’s concert was even worse because I had that on VHS tape, and you either had to sit through Paulo Jr. and Max talking in broken English about “growing up metal” in Brazil, or expertly time your fast-forwarding so as not to clip the first notes of Inner Self.  It’s interesting to follow the band and listen to their touring stories, but if you’re going to film these snippets, compile them in a way that makes sense and make it a bonus documentary at the end of the concert.  Opeth did this with Lamentations and it’s perfect.  You can watch either an awesome concert straight through or an awesome documentary and nothing is awkwardly crammed together.

Meshuggah’s Alive isn’t a bad DVD, but it is an ordinary one.  All the promise I saw in that preview became a missed opportunity and the fantastic performances are lost within many cut corners as far as package design, overall editing and presentation.  Maybe next time, but until then, I’ll stick to the albums.

Mark’s Rating:

King says: “I promise my animated Melissa DVD will feature more than this”

Justin’s Review:

Rather than bore you with a written review, I present my DVD live blogging session… “Thoughts Pulled at Random” (wocka wocka)

• This DVD cover walks the fine line between clever and stupid.
• Nuclear Blast probably spent a lot of money on their promotional intro clip… not worth it.
• I realize this is the same clip from the trailer, but this slow-motion footage is amazing.
• No surprise here… this kicks the shit out of that hyper-edited crap they released on the Nothing reissue.
• What’s up with the pixelization every time there’s a full-color wash on screen?
• Jesus… Japan has a lot of Meshuggah fans.
• The “full-body-bang” still cracks me up.
• Meshuggah really need to do something different with their stage setup… I’m thinking levels.
• Getting tired of Jens Kidman’s “creepy face” already.
• This whole DVD should’ve been in B&W… would’ve been way cooler.
• What? No one knows how “I” goes?
• The point of the split-screen is sort of lost when you’re showing the same dude on both sides.
• The mix is pretty good actually.
• These vignettes are more interesting than the concert footage itself.
• Flashing lights get annoying after awhile… just turn all the lights on and be done with it.
• Need more “drummer cam”!
• Seriously… why do people bother taking camera phone photos at concerts?
• When did Larry Charles start doing live sound?
• Ahhhh… Tomas Haake’s cousin is their lighting guy… that explains that.
• The snare sound at the beginning of Combustion is ridiculous.
• Why do metal frontmen insist on calling their audience “fuckers”?
• You call that “Bonus Footage”? Give me a break.
• Meh.

Justin’s Rating:

King says: “Not bad for your first attempt, but maybe you should try calling Darren Aronofsky to direct the next one.”

Meshuggah – “Alive” Trailer

Aside from the fact that self-recording doesn’t cost you money (so to speak), are there any other motivations behind releasing & distributing your music for free?

Nah, it just seems like a logical thing to do. Why would I make music just to keep it on my computer?

That being said… do you have any specific thoughts on the state of the music industry?

I don’t really pay attention to it. Despite all the complaining from people about how terrible music is “these days”, I’m still able to consistently find rad things to listen to.

It’s no surprise that you’ve listed Meshuggah as somewhat of an influence. What are some other bands/artists that inspire you as a musician (specifically outside of the metal genre)?

I would say that most of my influences come from outside metal. Clarity by Jimmy Eat World is a huge one for me, Low Level Owl by The Appleseed Cast, anything that Jeremy Enigk has ever done, Radiohead here and there, The Books, Sufjan Stevens, Tycho, Death Cab for Cutie, Glassjaw, uhh… this is going to end up with me listing every band I’ve ever heard but those are some of the main ones that I can consistently come back to and find something new to appreciate. Obviously though there is that metal influence–yesterday I listened to every Botch song I have and it was sweet.

Describe your process… do you sit down to record with the songs already competed, or is it more of an organic approach while tracking?

I write the songs as I record them, so all I need is a catalyst in the form of an opening riff or idea to play with and it goes from there. Usually that happens one of two ways; either I doodle around on guitar and happen to play something that sounds cool, or I’m in the shower and I think of a nifty drum beat and program it while wearing a towel after I get out. So I guess it’s the latter.

Would you describe yourself as a perfectionist when it comes to writing and/or recording?

Well I try not to make things that sound shitty, and I have been known to record a riff a few dozen times until I’m satisfied. Other than that I have a whole bunch of riffs and half-songs sitting on my hard drive that I decided weren’t good enough to make the cut. In that sense I would say I’m sort of a perfectionist, but I just consider it not wanting to make anything that I think is uninteresting or uninspired.

What are your thoughts on Cloudkicker’s recent boost in publicity and popularity?

It’s funny that when I stopped caring about who listened to music I made, people started listening to music I made. I’m really flattered and appreciative that people seem to connect so personally with the music for some reason.

Is Cloudkicker a goal-oriented project for you, or do you just take it day by day?

I think the goal is “how long can I keep making stuff that isn’t the same exact thing as the last thing I made but also isn’t a piece of shit?” So it’s a day-to-day goal.

What’s next for Cloudkicker?

World tour with non-union musicians being paid barely-livable wages so I can cash in while not being inconvenienced.

Cloudkicker released their latest EP “]]][[[” this past February. If you haven’t checked out Cloudkicker as of yet, do yourself a favor… point. click. rock.

Have A Listen:

Cloudkicker – #:

Download audio file (Cloudkicker.mp3)

Despite mainstream television distancing themselves ever further from what’s cool, and a handful of other disappointing “metal” ventures, 2009 surely showed us a good time.

First and foremost, this was a killer year for releases from both veterans and young-bloods alike. Quality albums seemed to be dropping on a weekly basis (including some great re-releases), and the fall release schedule was unlike anything I’d ever seen… chock full of outstanding records from the likes of likes of Baroness, Immortal, Skeletonwitch, Slayer and more. There was barely enough time to keep track of everything, and I’m certain I’ll still be listening with fresh ears well into the new year.

This year also presented us with some amazingly well-crafted documentaries in Flight 666 and Anvil! The Story of Anvil. In addition to being extremely enjoyable, both films have received critical acclaim, and hopefully, helped dispel some of the bias towards metalheads worldwide (we’re not all dip-shit losers after all).

2009 has also given us a variety of cool things to spend our money on, including but not limited to: Mercyful Fate shoes, heavy metal cookbooks, Enslaved vinyl box sets, Precious Metal, and plenty of challenging tracks for the little plastic baby guitars we all own.

From the looks of it, 2010 will continue to ride the wave of awesomeness with new releases from Dillinger, High on Fire, Meshuggah, Nachtmystium, Torche (and more); as well as fantastic tours and another promising documentary for us to enjoy. Here’s to hoping we all continue to deliver. Happy New Year y’all.

Stay Heavy.

This podcast picks up where our last one trailed off. We’re continuing our discussion on “lost” albums from the 90s… basically albums that we think went under the radar or have since been regulated to bargain bins worldwide. Now we’re certainly not in agreement on one another’s picks, but I do recommend checking out any and all of these records if you’re getting tired of listening to the Blue Record 24/7.

We also take a few minutes to discuss the travesty that are “metal remix albums”, and talk about the Kuma’s Corner December Burger of the Month… The Eyehategod. So sit back, grab your hot cocoa and warm your toes by the fireplace with Reviews/Resist Podcast #3.

We hope you enjoy, and be sure to subscribe in iTunes, and feel free to give us the old “you guys suck” in the comments section.

Download audio file (ReviewsResist_Podcast_3.mp3)

(31.4 mb / 40:43)

 

  We’re on iTunes… be sure and subscribe!

PS: I’m sad to report that the .mp3 of Mark’s band covering Life of Agony was not able to be procured in time for this post. Hopefully we’ll have that for your listening pleasure next time around.

Mark’s List:

20. Nile – In Their Darkened Shrines (Relapse)
Karl Sanders’ masterpiece is the perfect soundtrack to releasing spirits from a cursed Egyptian tomb.
Check Out: Execration Text

19. Iron Maiden – Brave New World (EMI/ Sony)
Bruce and Adrian are back… well, Jannick is still there, but still, this Maiden album makes us forget the previous four and brings us back to 1986.
Check Out: The Fallen Angel

18. Killswitch Engage – The End of the Heartache (Roadrunner)
Hello Howard Jones, pleased to meet you, your band rules… and so does this album.
Check Out: Rose of Sharyn

17. Strapping Young Lad – Alien (Century Media)
Devin and the boys melt faces on an album that stands up to the legendary City.
Check Out: Zen

16. Skeletonwitch – Beyond the Permafrost (Prosthetic)
Thrash came back in a big way in the 00’s, and these guys lead the way.
Check Out: Upon Wings of Black

15. Opeth – Ghost Reveries (Roadrunner)
The proggiest of the Opeth releases was also one of the best.  Swedish metal meets George Harrison’s Maharishi.
Check Out: The Baying of the Hounds

14. Slayer – Christ Illusion (American)
Another return from some big names, this time it’s Lombardo and Rubin and voila!, Slayer makes their most inspired record in years.
Check Out: Skeleton Christ

13. Gojira – From Mars to Sirius (Prosthetic)
France’s metal titans give us one of the heaviest-sounding onslaughts in recent memory.  An open array of serenity and punishment.
Check Out: Flying Whales

12. Meshuggah – Nothing (Nuclear Blast)
The only album meant to be recorded with 8-string guitars. So heavy and hypnotic it’s made for the atmosphere of a different planet.
Check Out: Glints Collide

11. System of a Down – Toxicity (American)
An odd little metal band that turned into a huge, hard rock juggernaut after this combination of focused song writing, great production and heavy manic.
Check Out: Prison Song

10. Mastodon – Remission (Relapse)
Their first full-length release and the introduction for many to Mastodon.  The album that woke up the metal world in 2002.
Check Out: March of the Fire Ants

9. Lamb of God – Ashes of the Wake (Epic)
The album catches Lamb of God and the Adler brothers at their hungriest, right on the cusp of becoming one of the biggest bands in heavy music.
Check Out: The Faded Line

8. Baroness – The Red Album (Relapse)
A genius mixture of metal’s fury and indie-rock’s fuzz dragged through the sludge of the Georgia swamplands. John Baizley becomes a new metal hero.
Check Out: Isak

7. Cynic – Traced in Air (Season of Mist)
We waited for 15 years after Focus, and Paul Masvidal did not disappoint us.  An incredible journey of musicianship, virtuosity and elite song-writing.
Check Out: The Space for This

6. Opeth – Deliverance (Music for Nations)
The title track contains one of the best riffs of all time.  Wreath and Master’s Apprentices provide some bone-chilling moments.
Check Out: Deliverance

5. The Sword – Age of Winters (Kemado)
A hipster delight, but also a headbanging, weed-smoking, stoner-metal classic.  The raw power of every riff conjures the ghost of Iommi (wait, he’s not dead!)
Check Out: Iron Swan

4. QOTSA – Songs for the Deaf (Interscope)
Another popular release that includes perfect song after perfect song.  Dave Grohl leaves his mark, and his curse on future Josh Homme projects.
Check Out: Song for the Dead

3. Immortal – Sons of Northern Darkness (Nuclear Blast)
One of the best black metal albums of all time. Abbath creates an avalanche of riffs and mayhem.
Check Out: One By One

2. Opeth – Blackwater Park (Music for Nations)
Many consider this the breakout album for Opeth.  A collection of the band’s finest moments and some of the best metal songs of all time.
Check Out: The Drapery Falls

1. Mastodon – Leviathan (Relapse)
Mastodon’s perfect metal album and one of the best releases ever.  A true classic from the first notes of track 1.
Check Out: every song

Justin’s List:

20. Candiria – 300 Percent Density (Century Media)
Normally, shit this eclectic is reserved for prog snobs… it’s a shame they’re too busy sucking off Dream Theatre to appreciate the real deal.
Check Out: 300 Percent Density

19. Killswitch Engage – The End of Heartache (Roadrunner)
This album raised the bar previously set by Alive or Just Breathing. A feat every other modern metalcore band (including Killswitch themselves) have yet to surpass.
Check Out: Rose of Sharyn

18. Starkweather – Croatoan (Candlelight/Hypertension)
Ready for something completely new and exciting? Check out these old-timers.
Check Out: Slither

17. Skeletonwitch – Breathing the Fire (Prosthetic)
As I’ve said before… this is “Metal” personified.
Check Out: Repulsive Salvation

16. Immortal – Sons of Northern Darkness (Nuclear Blast)
Black Metal’s finest hour?
Check Out: One By One

15. Slayer – Christ Illusion (American)
Kerry King + Tom Araya + Jeff Hanneman – Paul Bostaph + Dave Lombardo = ‘Nuff Said.
Check Out: Flesh Storm

14. Baroness – The Red Album (Relapse)
Eclectic, yet cohesive. Heavy, yet poetic. Artsy, yet fucking awesome.
Check Out: Wanderlust

13. Type O Negative – Dead Again (SPV)
Absolutely epic songwriting from “The Drab Four”.
Check Out: The Profit of Doom

12. Craft – Fuck the Universe (Carnal/Southern Lord)
Black Metal’s finest hour.
Check Out: Thorn In the Planet’s Side

11. Mastodon – Remission (Relapse)
Riffs beyond your wettest dream. A game changer for sure.
Check Out: Mother Puncher

10. Torche – Meanderthal (Hydra Head/Robotic Empire)
The prefect blend of heavy and poppy. I assume this album is perfect for cruising for metal chicks on a hot summer evening.
Check Out: Healer

9. Cave In – Jupiter (Hydra Head)
The biggest 180 in the history of hardcore. But Cave In are certainly a better band for having taken the risk.
Check Out: Big Riff

8. Opeth – Deliverance (Music for Nations)
One listen to the title track and you’ll know why it’s on this list.
Check Out: Deliverance

7. Isis – Oceanic (Ipecac)
This album single-handidly turned the word “Neurosis” into “Neurisis”. Stock in metalgaze shoots through the roof.
Check Out: The Beginning and the End

6. Jesu – Jesu (Hydra Head)
Justin Broadrick shows the metal community there’s more to life than Godflesh. Much more.
Check Out: Friends are Evil

5. Converge – Jane Doe (Equal Vision/Deathwish)
Converge’s defining record… Jane Doe also happens to be the defining record for 98% of hardcore bands since.
Check Out: Concubine

4. Meshuggah – Nothing (Nuclear Blast)
Is there such a thing as “too heavy”? It turns out the answer is no.
Check Out: Straws Pulled at Random

3. Pelican – Australiasia (Hydra Head)
The perfect mix of skull-crushingly heavy and heart-breakingly emotional. The soundtrack to “flying” dreams.
Check Out: GW

2. Hopesfall – The Satellite Years (Trustkill)
An awesome post-hardcore band doing everything in their power to sound like Hum. Hey… it’s all green to me!
Check Out: A Man Exits

1. Mastodon – Leviathan (Relapse)
The metal equivalent of Dark Side of the Moon. Instant Classic. Period.
Check Out: every song

It’s not Revocation’s fault, but when I received their new album, “Existence is Futile“, I was told that it was possibly the metal album of the year. That got me interested, but then I punched their name into Google, and found scores of websites proclaiming Revocation as “The Next Big Metal Band”. Now, usually this tag can be more of a curse than a blessing, but I was excited to hear these guys and made certain to reserve judgment until I could sit down and fully experience the album. Could this band possibly live up to the hype that had been built? The answer, unfortunately, is “no“, and while I think “Futile” is quality stuff, it doesn’t stand out as anything that I would term ground-breaking, or even more than slightly memorable.

Revocation doesn’t tip-toe around what it wants to accomplish. It’s technical-death metal of the highest order, and they do create some very unique and cool song structures. Guitarist/Vocalist David Davidson mixes boatloads of great riffs with some old-school soloing reminiscent of early Death and Carcass. Phil Dubois’s drumming is extremely impressive, but it lacks that memorable fill or beat that defines a song. The vocals are solid, but not very dynamic and their overall presentation could cause them to be confused for a number of other bands. The band’s guitar tone comes alive on the instrumental “Across Forests and Fjords“, and the sweeping riffs and melodies in “Tragedy of Modern Ages” have been stuck in my head since I heard them. But that’s two songs out of 11, and while the rest are a collection of very precise and technical musicianship, they just don’t grab you.

So I’m not sure if a bad review of the album is fair to the band, because Revocation is obviously very talented and I’m sure they slay live. Is it more of a comment on the current American metal scene that we think of these guys as pioneers? The band reminds me of a lot of technical-death outfits such as Cryptopsy, Origin, or even The Faceless. All of these guys have a great sound and just punish you with an onslaught of perfectly-played notes, but ultimately just don’t have that little “wow-factor” that sucks you in and makes you regularly fire up their music. I still have hope for Revocation, but I feel that “Existence is Futile” just cant live up to the hype.

Mark’s Rating:

King says: “It’s tough to live up to what metal demands, we can’t all be The King…”

Justin’s Review:

While I may be slightly older than Mark, I think it’s safe to say I’m a tad less jaded… especially when it comes to buying into the hype that surrounds Revocation and their new album “Existence is Futile.” Granted… proclaiming a virtually unknown (at least in my book) band are potentially the “next great metal band” is a pretty tall order, but quite frankly, I doubt Revocation give two shits… and really, neither do I.

What I do care about… is a band that I’ve never even heard of cranked out one of the most riff-tastic (yet tasteful) metal albums in years. Before I dive into specifics, let me take a second to clarify my perception on “riff-tastic”. Mark mentioned The Faceless, and I think it’s a fair point of comparison (through not necessarily the same genre). The Faceless (who I will give props for their phenomenal technical skills) write riffs. Their songs are chock-full of them. In fact… that’s ALL their songs are. Just a shitload of riffs placed one after another in no discernible fashion (then played at warp speed). Extreme? Most Definitely. Memorable? Not a chance.

Which brings us to Revocation… yet another “technical” metal band in their mid 20s who (based solely on their logo and artwork) I probably wouldn’t even waste my time with. Well… you’ve all heard the old saying… “it’s best not to judge a book by its cover.” Truer words could not have been spoken. While Revocation too, feature songs chock-full of riffs (seriously some of the freshest I’ve heard in a looooonnnggg time), they also write killer songs. Despite Mark’s take on it, “Existence is Futile” is filled to the brim with songs that flow exceptionally well (Deathonomics, Leviathan Awaits), showcase astoundingly memorable riffs (Pestilence Reigns, The Brain Scramblers), and even feature a few welcome surprises (Dismantle the Dictator). To top it all off, closing track The Tragedy of Modern Ages features an outro that comes dangerously close (in terms of sheer awesomeness) to Opeth’s Deliverance or Meshuggah’s Straws Pulled at Random.

It’s tough to pin the band down to a specific sub-genre (there are elements of old-school, thrash, death metal, prog, and so on), but for fans of good old-fashion metal… Revocation delivers in spades. In addition to the fantastic riffs and songwriting, we’re treated to some formidable drumming, audible bass (hey… in metal that’s a definite plus!) and solos, Solos, SOLOS, SOLOS!!! (which of course, rule). The vocals are nothing to write home about, but for the most part, tend to be very well suited to the songs themselves (and the occasional gang vocals are a nice touch). All in all, if you’re looking for something to freshen up the old cd collection / ipod / record player (?) … look no further.

If Mastodon have taught the world of metal anything, it’s “screw the hype… we just do what we want.” Let’s hope Revocation follow suit.

Justin’s Rating:

King says: “Does it seem like I’m just giving out 5s like they were candy on Halloween? Possibly… but the one thing I know for sure is Existence is Futile is a real treat!”

Have A Listen:

Revocation – Pestilence Reigns:

Download audio file (Pestilence_Reigns.mp3)

Mark’s Review:

I couldn’t believe the amount of total and utter douchebags that are attracted to Meshuggah! I figured that the crowd on a Sunday night would be filled with prog-metal nerds discussing time signatures, diminished-note arrangements and internet message boards. Instead, the House of Blues was packed with young ass-clowns sucking down beers and pushing to get into a pit that was non-existent (how can you mosh to something in 7/9???). Also… when did girls get into prog-metal??? Did I miss this memo? And I’m not talking about your typical plus-sized she-man with black leggings and an Andromeda t-shirt… I’m talking about regular, hot girls that look like they just got off of work at Hollister. Where were these chicks in 1994 when I was pinned between two sweaty, fat guys in jean jackets headbanging their hair in my face during Corrosion of Conformity? Well, I guess Obama promised change, and here it is. It’s obviously a different time now than it was 15 years ago, which is about the last time Cynic toured the US.

Cynic took the stage after young, tech-metallers The Faceless got things underway. The swell of anticipation covered the crowd as the droning tones and meditative notes of Nunc Fluens began to amplify. By the time Sean Reinhert pounded out the opening fills in A Space for This, you could tell that Cynic was not fucking around, they were making up for lost time. Paul Masvidal and Co. blasted their way through a setlist that perfectly blending songs from 1993’s debut Focus, and 2008’s masterpiece Traced in Air. His vocoder-vocals and headstock-less guitar were dead-on, and he wasted no time with stage banter, letting a pre-recorded “transcendental Yogi” do most of the guiding. Their sound was loud, controlled and confident, and they benefited from by far the best house mix of the night. Highlights were definitely Uroboric Forms and Veil of Maya, which exploded from the monitors and showed off Reinhert’s unbelievable chops. I’ve been listening to Traced in Air pretty much non-stop since it came out, so ending the night with Integral Birth was amazing. Unfortunately, Cynic left the stage to the taunts of the previously-mentioned douchebags, who were happy their “gay” set had come to a close. I mean, sure, Masvidal is a little effeminate, but c’mon, would you yell that at Halford??

I was there to see Cynic because, for me, they were the main course. But I like Meshuggah, and figured it would be like eating a ridiculous dessert after a steak dinner… unnecessary but very enjoyable. I loved obZen and listen to Nothing and Chaosphere pretty often, so I really was anxious to see how they would perform these impossible songs live. Opening with Pravus, Meshuggah quickly took control over the crowd, but there was something missing… VOLUME! Meshuggah does not use cabinets, they pipe everything through the monitors in order to obtain an ultra-clean sound. This is great, but coupled with the tuning on their baritone guitars, led to volume levels that were so low, I could hardly hear anything. Once they began Bleed, I think the sound guys pumped things up a bit, but the fact that I was having conversations with out yelling, was a problem. Now, I was downstairs at the House of Blues, and Justin said the sound was much better upstairs, but it was still a letdown. You see, I think Meshuggah’s power is the fact that their rapidly changing rhythms and swirling riffs seem to engulf you and become this evolving storm that traps the listener. When I listen to an album, there’s so much chaos you lose track of what is up and what is down, all while Jens Kidman is screaming at you. Without the volume to fully crush the audience, I felt a lot of that effect was lost.

Mark’s Rating:

King says: “That guy from Cynic uses a vocoder?? Hmmm, I guess that’s ok…”

Justin’s Review:

Here’s the thing… with the exception of the sound there, the House of Blues fucking sucks. For a venue that is held in such high regard by the general public, H.O.B. is a shitty place to try and see a metal show. Especially one that’s sold out. The layout there is terrible, and unless you feel like being crammed into the main floor or manage to be in the front row of any other section of the venue, you’re shit-outta-luck.

It’s a rare thing to walk into a venue 15 minutes before the show even starts and have absolutely no place to move or see. Such was the case this evening. As Mark already made clear, Meshuggah seems to have some sort of magical allure that brings nü-metallers out of hibernation, ready to get their drink and mosh on. I simply don’t get it. Is it because their guitars go to 8? Is it the token bald singer?? What the fuck??? I haven’t seen that many stereotypical dipshit metalheads in one place since the last time I saw Slayer. The d-bags were out in full effect, and that certainly didn’t help my attitude or my sight-lines.

The Faceless opened the evening with an impressive array of instrumental finger-banging. Considering half these dudes were probably pooping their diapers when …And Justice for All came out, they certainly know their phrygian scales and shit like that. They lost a little muster once their singer came out, and overall, the hyper-tech-death shtick wore thin after the first 15 minutes, but overall not bad.

By the time Cynic were about to take the stage, the crowd was really starting to get out of control. I swear, you’d think we were at a Justin Timberlake concert surrounded by 14-year-old girls or something, because everyone seemed to want to push their way onto the main floor (it just so happened that we were standing in the middle of the entrance to said floor, so that didn’t help). Apparently, Paul Masvidal & Co. really ARE a prog-snob’s wet dream. In fact, by the time we made it to the upstairs balcony, I think I caught a glimpse of Mark with his hand down his pants. Of course, he might’ve just been adjusting himself, because Cynic put on a boner-inducing show. Rather than reiterate Mark’s synopsis, let me just sum it up by saying, if you have the chance to see these guys live… do so. Cynic rival Neurosis in terms of being both an extremely tight AND incredibly dynamic live band. Drummer Sean Reinhert in particular was a real treat to watch (or in my case… listen to. I’d like to point out that, even though we made it upstairs, we still couldn’t see shit. The only thing we had a better view of was one of the various tv monitors H.O.B. utilizes to run a multi-camera feed of the show).

After the unusually long changeover, Meshuggah hit the stage, tuned down and ready to destroy. Unfortunately for them, the only eardrums bursting this evening were from people getting punched in the head down below. As Mark points out, Meshuggah were left sounding a little flat… especially when compared to Cynic. That being said, there were still plenty of things to enjoy:

• Watching them pull off Bleed live… very impressive.
• Meshuggah has perfected what I deem the “full-body-bang”… sort of like head-banging, but with your waist rather than your neck (I attribute this to very very heavy guitars).
• Meshuggah’s lighting guy. This dude knows his shit. In fact, i wouldn’t be surprised if they had the lighting cues triggered from Tomas Haake’s kick pedal.
• The homage to Tool’s set design. No matter what you think of Tool’s music, it’s difficult to deny how awesome their visual aesthetic is. Meshuggah agrees.
• My cohorts in the balcony attempting to head-bang in time with New Millennium Cyanide Christ. Hilarious and disturbing… sort of like watching Elaine dance.
• Straws Pulled at Random… that song fucking RULES.

Despite an evening worth of solid sets, I’m still going to think twice before venturing out to H.O.B. any time soon (damn you Opeth & Enslaved). I spent $100+ dollars for (2) tickets, parking and (2) drinks… all to basically watch the show on tv all night. Add this to the fact that they don’t allow cameras, and charge $5 for coat check (per coat). LAME.

Justin’s Rating:

King says: “Progressive Metal… good, Corporate Venue… bad!”