Gwar continues to keep things interesting. After the sudden passing of Oderous Urungus (Dave Brockie) this year, the band has been a little quiet about who would fill in. They have went on record saying that they asked many older characters from Gwar’s extensive former members list to help fill out the tour. But now, a new player emerges, and as a front woman, she is a force to be reckoned with.
Photo from Vulvatron’s Facebook Page
Vulvatron made her front woman debut at Riot Fest on September 12th, and the crowd response was altogether positive. From a recent press release from Wondering Sound:
“Vulvatron is not dancing, or breathing fire, or keeping the slaves in line (though one assumes she’ll be adept at all three). For the first time since the departure of dancer and backing singer Slymenstra Hymen (Danielle Stampe) in 2000, GWAR has a female member, and she’s the front woman.
To split hairs, she’s actually GWAR’s new co-frontperson, joining reinstated vocalist Blothar (Mike Bishop) whose Beefcake the Mighty character was introduced in 1988.”
Photo from Vulvatron’s Facebook Page
This promises to be an incredible addition to the line-up, so don’t miss out on your chance to witness Gwar History (Gwarstory?) this winter when the band embarks on the Gwar Eternal Tour 2014. The tour will make a stop in Upstate New York at Upstate Concert Hall on December 11th, with American Sharks and Corrosion of Conformity. Check out Vulvatron’s facebook page here.
This fall marks one of the most sought after tours in recent memory. The incredible co-lining onslaught of Five Finger Death Punch and Volbeat has been an idea in the works for some time, with both bands finally hitting the road together after countless scheduling issues, stopping in Albany. The timing could not be better, as both bands are the premier heavy metal bands on mainstream rock radio.
Nothing More. Photo by Jim ‘JT’ Gilbert / JTGphoto.com
Joining them on tour will be Nothing More, the fast rising heavy groove metal project out of San Antonio, Texas. Chipping away at the game with their relentless barrage of work they finally have broken out with their single, “This is the Time(Ballast)” hitting #2 on the Billboard Mainstream Rock Chart in 2014. As they self proclaim with the inherent question, “Nothing more?”, they immediately answer back, “Accept nothing less.”
Hellyeah have recently dropped their most defining album to date. Blood for Blood allows the average listener to really get the best interpretation of this ‘supergroup’, and gives the die hard fan a new outlook on this incredible band. Made up of seasoned veterans of the stage Chad Gray (Mudvane), Vinnie Paul (Pantera, Damageplan), Tom Maxwell (Nothingface) and Kyle Saunders (Bloodsimple), they are poised to bring the hard hitting heavy rock to this tour.
Volbeat. Photo by Jim ‘JT’ Gilbert / JTGphoto.com
Hailing from Denmark, Volbeat is no stranger to the United States. The three-piece continues to tear up stages all over the world, and are primed and ready to co-headline this tour in support of their most recent album, Outlaw Gentlemen and Shady Ladies. Epic riffs and catchy melodies make each show an experience, and with new second guitarist Rob Caggiano (Anthrax) will have the entire crowd banging their heads and singing along.
Five Finger Death Punch (5FDP) has been wanting to do this tour for sometime, and scheduling has always gotten in the way, as is the case with hard working bands that tour constantly. But the planets aligned and this tour can finally be a reality. 5FPD are riding high off their two releases last year, The Wrong Side of Heaven and The Righteous Side of Hell, parts 1 and 2. The combined sales of those records made the band the highest selling rock band in America. Their live show is one of pure intesity and heavy metal chaos, and one not to be missed when it rolls into the OnCenter War Memorial Arena in Syracuse NY on Setptember 23rd. Then, on September 27th, the tour will hit the Times Union Center in Albany, NY. This, like so many other amazing shows in the Albany area, is being brought to this area thanks to the tireless efforts of Step Up Presents.
Five Finger Death Punch. Photo by Jim ‘JT’ Gilbert / JTGphoto.com
The tour kicks off in Salt Lake City, Utah on September 16 and goes until it’s Las Vegas on October 24th. Tickets and tour dates can be found on the bands websites or through TicketMaster.
In Upstate New York, it is that special time of the year again. Time for the leaves to change, the nights to get colder, and Clutch to return to the area. For much of their 24 years of playing, they have managed to always make Upstate a stop on their tours. Good thing too, because this area absolutely loves the band and comes out in droves to witness their pure rock fury.
Neil Fallon of Clutch
Upstate Concert Hall, the premier club in the area to bring acts like this around consistently, was on point for this show. Their great security staff kept the patrons safe, the fine bartenders kept everyone’s thirst at bay, and the stage crew kept the whole thing running smoothly. Without establishments of this calibre, audiences would not be able to see so many great acts come to their town.
First up for the night was American Sharks from Texas. A three-piece consisting of a bassist/vocalist, guitarist and drummer, they took the stage to an already half-packed room at 8:00 PM. Before exploding into their first song, the singer told the crowd he was betrayed, and with tongue in cheek, said that he was drinking vodka instead of water all night. This was a good gauge as to the type of fun the band had on stage, and the infectious riff-rock music they played. Hints of Alice Cooper, Motorhead, and Red Fang permeated their sound, and the audience ate it up. Driving guitar and bass riffs helmed each song, short and sweet at about two or three minutes in length. The drummer was the most mesmerizing, hitting his skins like a crazed caveman, then walking away from his set after each song to stare it down, eager to beat it into submission on the next one. At one point, the atmosphere was like a zombie prom, or a romanticized punk rock show, with groups of people feeling the grooves and infecting nearby fans to dance and sway with them. The fast-paced rock was peppered with trippy instrumental nuggets, giving a big, full sound from the band. “We have a few more warm up songs before we get to the set” the singer would say from time to time, gaining chuckles from the audience and increasing the good vibes of the show.
Lionize hit the stage next, a stellar act off of Clutch’s label, Weathermaker Records. In fact, their sound was very parallel to Clutch, with big groovy hooks and funk riffs, littered with a commanding vocal presence. Some songs made use of reggae-esque timing and vocals, while other songs produced full-on southern metal assaults. They were a contrast from American Sharks’ two minute sonic attacks, as Lionize played longer epics that were full of sound. A little bit for everyone, bouncing between burn-up-the-road heavy jams to introspective, keyboard-heavy, funk ballads. Relying heavily on their newest album’s material, they delighted the now almost-packed house of Upstate Concert Hall with their musical prowess.
With the lights down and a rowdy backtrack song ushering Clutch onstage, the crowd was whipped instantly into a frenzy. A fast four count from their drummer Jean-Paul Gaster broke directly into set opener, “Cyborg Betty”, off their new album Earth Rocker. Neil Fallon picked up his mic and slid right into his onstage preacher persona, gesturing madly at the audience with each cadence. They easily had the best sound of the night, and possibly one of the best sounding stage performances ever at this venue. A straight four-piece band, fans were able to pick out the guitars, bass and drum riffs with ease from wherever they were in the tightly packed room. By the time the band hit “Crucial Velocity”, both in song title and in intensity, the crowd was mere putty in Clutch’s collective hands. A brand new song was unfurled at this show, and possible a few others on this tour, and Neil belted out “Decapitation Blues” with poise and determination that seemed like they had been playing it for years. It featured the first full on guitar solo of the night, and Tim Sult’s expertise washed over an already incredible array of sounds.
I was lucky enough to be backstage before Clutch went on, and heard Jean-Paul warming up like a well-wound clock. It showed on stage, too, because coupled with an epic bottom floor held down by Dan Maines, is a tight-as-nails rhythm section that is unparalleled in this type of music. Screaming “Fire it up, Yeah that’s the ticket now kick out the jams” as they launched into crowd favorite “Mice and Gods” reflected exactly what was happening that night.
The crowd was full of happy faces, all mesmerized by the sheer brilliance of the heavy, powerful rock and funk that was being bestowed upon them. At times Neil would chew his jaw like a grandfather telling you an important story, or he would get more worked up and anoint the crowd with his microphone. If you have never seen Clutch live, it is an experience akin to something almost religious, as you feel better afterward like you could take on anything. The ethos of the band are summed up perfectly in the title track of “Earth Rocker”, as he sings “If you are gonna do it, do it on the stage, or don’t do it at all.” This isn’t a band that uses backing tracks or loops. They produce all the high-octane intensity directly in front of the audience, no smoke and mirrors. There was no signs of slowing down an hour into the set either, as they brought out acoustic guitars, with Neil on a beautiful hollow body for “Gone Cold”. Finishing out the night with a two song encore and giving props to the two openers, Clutch proved, once again, why it is always a treat to see them in Upstate New York.
Clutch will be on tour throughout September, check their website for dates and tickets.
Setlist: Cyborg Betty, Book Saddle and Go, Crucial Velocity, Burning Beard, Decapitation Blues, Mob Goes Wild, Mice and Gods, Profits of Doom, Power Player, I Have the Body of John Wilkes Booth, The Yeti, Texan Book of the Dead, Unto the Breach, Earth Rocker, Cypress Grove, Gone Cold.
Encore: D.C. Sound Attack, Electric Worry
Dan Maines (Clutch) at Upstate Concert Hall. Photo by Jim ‘JT’ Gilbert / JTGphoto.com
American Sharks at Upstate Concert Hall. Photo by Jim ‘JT’ Gilbert / JTGphoto.com
The time had come for metal to return to Saratoga Springs. On Friday, Sept. 5, the Putnam Den held court for Jesus Christ and the Hallucinogenic Allstars (JCHA) monthly residency, where they bring the best in hard rock and metal from locals to bands up and down the East Coast. Unfortunately for this show, Surfacing from Brooklyn had to drop off last-minute due to vehicle troubles. The three remaining bands though from the local scene were primed to give up their offerings to the gods of metal, and to the wanting masses gathered at the venue.
First up was Crown of Vultures, from Albany. Formerly known as the band Vacant, they have a progressive, heavy sound reminiscent of bands like Tool or Chevelle. The singer did his best to croon in that vein over the music, but their set was lackluster. People were already milling about the venue as they took to the stage, but a dynamically flat performance did not grab too much attention. Not sure where this band might fit, but in the bulging heavy scene that breathes metal and hard rock, this band sounded reserved and gave an almost boring performance. Their set was peppered with some great driving riffs, but they were too few and far between, with some stumbles along the way by the drums. They are a budding band though, which has been re-tooled with new members, so look for them to hopefully coalesce into a powerful outfit soon enough.
Next up was Foaming at the Mouth, who flanked the stage with two towering posters, depicting a screaming girl writhing in the dirt. With that image in full display, the two-member band took no time diving into their first song. Guttural vocals being slung by both the guitarist and drummer, they instantly redeemed the show. Playing their own brand of crushing metal, with elements of death metal and grooving riff-rock, the sound paralleled to Lamb of God and Dying Fetus. With a brand new music video that dropped the same day and a new CD coming out in December, these guys are on a fast track to turn heads and melt faces. The absence of a bass player was never felt, as the onslaught of sound and technical prowess of the guitarist won the crowd over, gaining huge responses after each song. Both guys looked at ease and truly enjoying being on stage, even covering a Death song almost flawlessly.
Resident pushers of all things stoner rock, JCHA prepped the stage with all their tricks. They took their traditional whiskey shot onstage, served by their bearded bartender-slash-light tech. They then launched into a barrage of sound and laser lights that instantly took over the audience. The band commanded the best sound of the night from the Putnam Den, but the vocals of bassist Dustin were a little overpowering at times, losing the drums in the mix. But these were only small technical problems that were made up for by the energetic performance the band produced. Jon, the guitarist, showed the crowd his brilliant talent through precise riffs and big solos. Ross beat his drums like they owed him money, but kept the floor held down throughout the performance. Dual vocal harmonies from Dustin and Jon, and well-timed lights and smoke brought the performance higher than a casual listener might have anticipated. At one point, during a cover of “Stranglehold” by Ted Nugent, Jake the bartender stepped out from behind his stage bar to mix a drink in the faces of the audience, adding to the intense fun being had by the band on stage.
They raffled a beautiful piece of art from local artist Alexis Herzog, who paints live during their set. The only downfall was that the stage lights were too dim to make out the piece being raffled, and she was working on the side of the stage in virtual darkness, making it hard to see what she was producing. There was still a good crowd as the show went on past 12:30 AM, and JCHA livened it up by unconventionally launching into three cover songs in a row. The fans that remained were still hungry for more, and they graced them with a brand new song as their final offering of the night.
JCHA will be performing again Sept. 12 at Monirae’s in Pennelville, NY, as well as Sept. 19 at Sharpshooters in Amsterdam, NY.
Setlist: Greed Makes You Fatter, Great Sage, Stranglehold, Late and Lost, The Mountain, Extension, Never Clean, Bear Steak, Green Machine, Children of the Grave, Ommision, Dying in Leather
Indianapolis based progressive metallers The Contortionist show with the third record, Language that when modern prog metal works, it’s great, but when it starts to falter, it can be cringe inducing. The band does a lot right on this album, but they fall into traps that many bands in their genre find themselves stuck in. Language has some incredible moments where melodies mix into beautiful arrangements but also has moments where the band sounds like they’re trying way too hard.
The introductory track on Language, “The Course,” shows off new singer Michael Lessard’s impressive vocal range with runs up and down the scale. But as the album wears on, I couldn’t stop but wonder if what I’m listening to would be better off without any vocals at all. The Contortionist do mix the very melodic clean style of Lessard’s voice with harsh screams of death metal singers which comes as a bit of a jarring experience when you first hear them (especially if you weren’t aware it was part of their sound). The problem is, despite the weird mix of elegant sounds being produced by guitarists Robby Baca and Cameron Maynard, bassist Jordan Eberhardt, keyboardist Eric Guenther, and drummer Joey Baca, it’s the harsh vocals that fit the best. The clean singing comes across as very over dramatic and at times takes away from the fantastic instrumentation.
I don’t mean to keep harping on the vocals but I will say that the lyrics here absolutely distract from the band. They come off very pretentious like they were written in a fever after reading introductory philosophical texts. The Contortionist peers The Kindred also end up in this category but they know when to pull back on the reigns. The best example I can give of this is the fact that The Contortionist sing the phrase “ebb and flow” on four separate songs including one titled “Ebb and Flow”.
The musical chops here are first-rate. These guys know how to play their instruments and are at the top of the heap when it comes to technical playing in progressive metal. The album from a musical standpoint is very well thought out and everything flows nicely into each other which is something I look for when listening to music like this. The counter of the atmospheric like melodies and very heavy distorted chugging by the guitars works well and plays off each other. They have the star/stop jittery time signature riffs that prog metal fans love. However, there is one big musical blunder on the record, the song “Integration” has a synth line that does not fit at all. So much so it’s like they put the wrong track in the mix when working on the album. It really takes you out of the listening experience.
The Contortionist are a band still trying to figure out what they want to do. They have promise, that’s for sure. But it may take them another record or two to finally figure out what they need to do to push forward to the front of their genre. They have the talent to do it, but we’ll see if they can put it all together and create something truly special.
Sad news for heavy metal fans, this week, Chimaira announced after fifteen years of being together that the band was ending.
On Sept. 1, 2014, lead guitarist Emil Werstler announced his departure from the band. A day later, rhythm guitarist Matt Szlachta, keyboardist/vocalist Sean Zatorsky, bassist Jeremy Creamer, and drummer Austin D’Armond also announced their departure from the band. Lead singer Mark Hunter was the only one that did not make a statement until he posted on the band’s official Facebook page:
“After fifteen full blown ass ripping years, it is with great honor to announce the end of Chimaira. Thanks to everyone that supported the group in any way shape or form. Everyone involved with the band from members to fans put their heart and soul into this project. We achieved a lot. We bled a lot. It fucking ruled” — Mark Hunter
Chimaira was formed in 1998, in Cleveland, Ohio. The band made an impact on the new wave of American heavy metal scene in the mid-1990s and early 2000s. Their debut EP, This Present Darkness was released in 2000 and charted in the top 10 at Metal Radio.
It’s that time of year again. Heavy Earth Rockers, Clutch, are returning to Upstate Concert Hall in Clifton Park, New York on Saturday, Sept. 6. The band will likely hold court to a packed house, as they seem to bring out fans from all corners of the state and beyond every time they grace the stage at UCH.
Joining them on this tour will be Lionize, a tight, riff heavy outfit from Maryland. Their new album, Jetpack Soundtrack, is full of their usual sci-fi metaphors coupled with intense hard rock. But this album is a little different, as the band and their sound have matured over the last ten years. It was also co-produced by Jean-Paul Gaster, the drummer of Clutch, adding to the explosive percussive energy this album emits.
Also opening up is American Sharks, a driving heavy rock band, reminiscent of the glory days of Motorhead. Both American Sharks and Lionize round out a night of guitar-heavy, full on rock that is sure to be a show not to miss. Upstate Concert Hall brings quality entertainment to the area, and a Clutch show is one that many faithful patrons frequent every single year.
Clutch continues to return because of the overwhelming response they have gotten from this area. Blues driven, heavy rock riffs coupled with a stunning vocal assault are what make these shows so much fun. If you are a fan of heavy music, or music that moves you, this is the show for you. If you are already a fan of Clutch, both openers promise to deliver in a big way, and might make you fans of them as well. Thanks to Step Up Presents for bringing this band back again and again.
Tickets can be bought through Ticketmaster or through the Upstate Concert Hall box office.
The New York State Fair is always brining fantastic artists to Central New York. This year they struck gold when Rock And Roll Hall of Famers Joan Jett And The Blackhearts performed for free at the Chevy Court stage at the Great New York State Fair on Wednesday, August 27.
Joan Jett and The Black Hearts – Great New York State Fair Chevy Court
There was easily about seven thousand fairgoers gathered for their hour and fifteen minute set. No opening act. No nonsense. Just straight up classic punk. Currently, Joan Jett And The Blackhearts are touring in support of their latest album, Unvarnished. There were five songs off that album sprinkled into their set, along with their more notable hits and The Runaways’ classics.
The band opened with “Bad Reputation” and The Runaways’ classic “Cherry Bomb”. Joan Jett is clearly on her A game and sounded better now than she did seven years ago when she played the state fair the previous time. And very notably, the band was clicking on all cylinders as well. Keyboardist Kenny Laguna, guitarist Dougie Needles, drummer Thommy Price, and bassist Acey Slade all showed great chemistry and great backing vocals to the entire performance.
Some of the bigger highlights of their set would have to be “Touch Me There”, a new song that she co-wrote with Dave Grohl titled “Any Weather”, and her cover of “Crimson and Clover”, which the crowd went nuts for. Also, the crowd went crazy for “I Love Rock and Roll” as expected.
The band ended with a three-song encore, featuring “Reality Mentality”, “Real Wild Child”, and a cover of “Everyday People”
Overall it was a great show, and possibly the best Chevy Court concert in YEARS.
Black Crown Initiate, hailing from Reading, PA, are poised to release their new album, The Wreckage of Stars, on eOne Entertainment. Only starting out in 2012, this band has made huge strides to get where they are today. They came out with their highly received EP, Song of the Crippled Bull and went on the Metal Alliance tour in 2013. Thanks to constant hard work and touring, they caught the attention of some labels, signing with eOne in 2014.
The first track, “Great Mistake” is a perfect example of what this progressive death metal band is all about. Meticulous guitar harmonies riff to huge heights, and the song explodes into crushing double bass attacks. The dichotomy of melodic choruses with the relentless death metal backgrounds conjure parallels to Dimmu Borgir in style, and can be found throughout the record. This is a perfect opening track for anyone who is unfamiliar with the band and what they have to offer.
The songs all have elements both ruthless and epic, the bulk of the tracks ranging from five to seven minutes in length. Guttural screams permeate the album’s sonic landscape, and they are very well produced. With frontman James Dorton and both guitarists tackling vocals, it provides a thick, black tar of growling projections and legendary melodies. Along with precision guitar techniques, and a tight as nails rhythm section, this album is the full package.
“Withering Waves”, another lengthy endeavor topping out at six minutes, gives you a building crescendo, constantly climbing higher and higher with a sense that you, the listener, might never get to the peak. That is the special treat that Black Crown Initiate brings to the table – you just don’t know what might be around the next riff, but you are heavily invested all the same.
This album, at its core is death metal with a technical focus, but there are many aspects that give you an enjoyable experience not found in the necessarily ‘normal’ genre releases. Songs like “The Fractured One” and “To The Eye That Leads You” are very generic at first listen, but still bring a quality that is rare in death metal. An acute attention to musical detail allow even obligatory four-minute death metal songs to sound like so much more.
The Wreckage of Stars, dropping Sept. 30, is an album made for the fans of the genre, not just the band itself. As the title track suggests, this is a thinking man’s (or woman’s) death metal album, where the intricate music speaks for itself in heavy volumes. They will be touring for this album with the band Rivers of Nihil, and coming to the Upstate New York area in Buffalo on Sept. 19 at The Waiting Room, Bogies in Albany on Sept. 21, and then St. Vitus in Brooklyn on Sept. 22. After that tour ends,they will be hitting the road with Origin, Darkest Hour and Unearth starting in October.
Key Tracks: Great Mistake, Malignant, Withering Waves, Linear
If you’re interested in pre-ordering the album, check out the band’s eOne page for various bundles.
In the ever-growing death metal scene, there are few frontmen that command a stage and carry a song like Jason Keyser of Origin. Jason joined Origin in 2011, but is no stranger to the role of lead vocalist. In 2004 he fronted the famed metal band Skinless, as well as local Upstate New York bands Mucopus and Detriment. He is a sight to behold on stage, being both intense and charismatic as he plays to crowds all over the world. Origin kicked off their All Things Dead tour in Clifton Park, NY at Trickshot Billiards with King Parrot, Beyond Creation, Abolishment of Flesh and locals Declension, and I got the chance to talk with him before the show.
Jeff Ayers: So Origin just got off the Summer Slaughter tour. How did that go for the band, any good stories from that tour?
Jason Keyser: It was probably the best thing we could have done. It was something we went back and forth about. Origin did it in 2009, and it was a bad experience for them internally and financially. I wasn’t in the band at the time, but I guess the structure of the tour was kinda garbage. They were a little apprehensive, but I was really pushing it, because I was like “We will get to play to two thousand kids a night, why wouldn’t we do it?” They begrudgingly accepted it, and it was one of the smoothest run [tours] and the most successful [Summer Slaughter]. The response was amazing for us, and there was no snags whatsoever.
JA: What a relief then.
JK: Yea, the cool thing about it also, was a great lineup and 90 percent of the bands all knew each other from touring together previously. So we knew [going into the tour] that no one was going to be an asshole, there would be no egos, and everyone would work together. So that makes us more comfortable, so we get more drunk, and we have better shows, and the fans have more fun.
JA: I saw that you guys were happy with your slot on the bill too.
JK: We were right in the middle. At first we were a little [put off] about it, thinking “We could be a little higher on the bill”….
JA: Yea, you are Origin!
JK: But the slot was Decrepit Birth, us, and then Goatwhore, which I think is a perfect slot.
JA: That is almost a tour right there!
JK: It was great for us. You know, more so than even being just a great tour, and being successful, was that every single night of the week, there would be dozens of kids coming up to us saying, “I’ve never even heard of you guys before today, but Jesus Christ! Now I know!” That is like the main thing you go for, that is long-term thinking. We had a great boost, great response. I almost died of heat stroke in Texas, and I don’t give my liver any chance to recover.
JA: Right, because tonight you guys are kicking off The All Things Dead tour. Can you talk a little bit about this came to be, how you hooked up with this great lineup of bands from all over the world?
JK: These are bands that were consciously sought after. I know, because it is after Summer Slaughter there were restrictions on this tour, so it is not hitting the biggest markets, which is fine by me. In my experience, when you go to smaller towns, not New York City or Los Angeles, but when you go to kinda the off the grid towns, those are where the maniacs hide out. We are playing Red Deer in Canada somewhere, and I am expecting [a show] like that to bring out all the lunatics of backwoods Canada. We played with King Parrot in Australia earlier this year, and they are like the same level of mania on stage that we think we bring. A little different style of music, but that is great, and they are just madness to the point that we were saying maybe we shouldn’t let them use our equipment, because of how crazy they get. Beyond Creation has a lot of the same tech-death metal stuff that we got, and they have been getting a lot of hype lately, people are really into them. We really hope people come out to this tour, because if not, it’s their loss.
Photo provided
JA: That sounds amazing. When this tour wraps, Origin is a part of the 70,000 Tons of Metal cruise later this year. Have you guys ever done a metal boat cruise before?
JK: I have not. I haven’t even done one of the local Troy music boat cruises, I haven’t even been on one. This is going to be great. The lineup is awesome, and I know people that swear by [this cruise]. They go every year and it becomes a lifestyle to them, they have post cruise depression afterwards. So I am excited. I hear stories all the time about how insane it is, because it is just 24 hours a day. Shows, drinking, there is no escape. It isn’t like a metal fest where you can just leave, you can’t! You are stuck on that boat, with us.
JA: I actually got to talk to Rob Barrett of Cannibal Corpse recently about it as well, and he said the exact same thing. They are really excited to do it again.
JK: Yea, those guys are on it, and Napalm Death just got announced, so going to be all awesome bands just partying i guess, I don’t know. That is like the end of this cycle, though, because after All Things Dead tour, we have another U.S. tour that has just been announced.
JA: Will you be headlining that tour as well?
JK: We are actually playing support on that, which is fine. Because you have to do everything. You got to do the festival run, you have to do a headliner run, and then you got to do a support run. That is the most general thing to do.
JA: That gets you in front of the most fans, and the most diverse crowds.
JK: Exactly. This next tour is a little different. We are hitting the road with Unearthed, Darkest Hour, Carnifex, Black Crown Initiate and I, The Breather. This is different for us, [because] it isn’t really our style. But I think that is the best part. Then after that, in November, we are going to Europe with Aborted and Exhumed, so we are real busy. So after December I’ll be able to stop and sit down for a minute. Not really though, because we are going to South America in March, and doing all sorts of other stuff. It’s good work if you can get it, and we are trying to push as hard as possible.
JA: Speaking of pushing, your new album Omnipresent just came out, and it has been gaining real good reviews from fans and critics. Are you guys happy with the album and the response?
JK: Absolutely. It was kinda funny the way that was released. We are on two different labels now, Nuclear Blast in U.S.A. and Agonia Records in Europe. We used to be on Nuclear Blast in the states and Europe, but the Europe label wasn’t pushing us as much as they should. Even though they share the same name they aren’t autonomous, and they are going in more of a rock direction over there. So we were looking for a new label [in Europe] and we found Agonia out of Poland. They are an up and coming label, but they are really pushing us and wanted us to be one of the front-runners on the label. We are really happy with them, and you can’t complain with the way it is [essentially] dual publicity for us. It is two labels working real hard to expose the album, and they aren’t really competing because it is two different continents.
JA: That is a great way to look at it.
JK: So anyway, back to the original story, the way it got released was that Agonia put out the first song, on YouTube, and it was a song that was a little out of context. The whole album is definitely best heard front to back. So they put out this one song, that is really part of a three-part thing, one song that we cut up [into three songs]. So it was this weird, kinda mellow song, and it was different than people were expecting. People lost their minds for a second, commenting “What is this? What is Origin doing?”. But it was completely out of context. Not that I cared, I like the song, it isn’t a bad song or anything, but it was perceived wrong. Then we put out a second track, and the internet breathed a sigh of relief.
JA: So you are back in Upstate New York, lets talk a little about this kind of homecoming. What is it like to be back, seeing as you kinda cut your teeth up here, so to speak? Because this show is a treat for Origin to play this area.
JK: Yea it’s great. I haven’t played a local show in this area with any band since maybe 2009. Things change though, I’m getting older, and everyone is, so the more I do larger tours with bands and national tours and such, the more I’m gone and the more I fall out of touch with people. So we will see, if people come out of the woodwork [to this show] and say “Hey remember ten years ago?” then I will think that’s cool. But until that point, I think no one even remembers me up here [laughs].
*The show was attended by almost 150 people, many of which have been part of this local music scene for many years, so I can only assume that Jason was happy with seeing some old faces.
JA: I know that you said how busy Origin is, but I also know that you, personally, like to be a part of a lot of auxiliary bands when you can. Is there anything in your wheelhouse to that effect, like another Mucopus or something?
JK: Oh, Mucopus. I wish. Justin, the guitarist of Mucopus, currently lives in Japan, so that is gone. But me and John Longstreth [Origin’s drummer] actually have a project called CRATOR that we are working on, but we have to wait until John’s drum DVD comes out. I have actually been slacking though, I got to write a couple of things for that. But, whenever friends of mine hit me up for guest vocal spots, I throw down for those. I did guest vocals on this album for a band called Dictated from the Netherlands, which is two hot, sexy ladies shredding guitars in death metal. That is coming out on Metal Blade Records, very soon. I also helped out on my buddies Splattered Mermaid from Sweden, and stuff like that. I keep busy as much as possible, but the lulls are just as extreme as the busy times. Feast or famine.
JA: Being out on the road so much, are there any up and coming metal bands that you might have just discovered, or you can’t stop listening to?
JK: [laughs] I don’t know, I’m getting old, I have been listening to the same ten albums for years now. I just listen to Bolt Thrower and Brujeria all day long. But seriously, check out that Dictated album, they are really good. There is a band called Troglodyte from Kansas that do Bigfoot themed metal, and they all dress up in Bigfoot costumes, they are fantastic. Also, Tentacles, from right here in Upstate New York, if you haven’t checked them out, do it already, they are amazing.
First up for the night was 
The introductory track on Language, “The Course,” shows off new singer Michael Lessard’s impressive vocal range with runs up and down the scale. But as the album wears on, I couldn’t stop but wonder if what I’m listening to would be better off without any vocals at all. The Contortionist do mix the very melodic clean style of Lessard’s voice with harsh screams of death metal singers which comes as a bit of a jarring experience when you first hear them (especially if you weren’t aware it was part of their sound). The problem is, despite the weird mix of elegant sounds being produced by guitarists Robby Baca and Cameron Maynard, bassist Jordan Eberhardt, keyboardist Eric Guenther, and drummer Joey Baca, it’s the harsh vocals that fit the best. The clean singing comes across as very over dramatic and at times takes away from the fantastic instrumentation.
