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.
Upstate NY band The Garcia Project has been on the move lately and wowing audiences from the East Coast to the West with their recreation of Jerry Garcia Band shows for the ’70s, ’80s and ’90s. The Garcia Project has come from playing little festivals in Upstate like The Strawberry Jam to Fiddlers Picnic and has gained a strong following in their home state. There’s just something about seeing this band live, you can’t help but close your eyes and kick off your shoes to spin barefoot in the grass wherever they are playing the sweet music of Jerry Garcia.
The band recently spent some time on the West Coast [home to the Grateful Dead] where they celebrated Jerry’s 72nd birthday at the Jerry Garcia Birthday Celebration in Santa Cruz, C.A. where they opened for and sat in with Los Angeles Grateful Dead legends, Cubensis. While in California the band was also invited to be VIP guests of the Jerry Day celebration in San Francisco – a huge honor to any GD family member.
This year’s Jerry Jam in Bath, N.H. was another milestone for the Garcia Project, not only were they the Friday night headliners but they had none other than JGB’s Melvin Seals sitting in on the keys for that event. The show can be heard on the Live Music Archive – https://archive.org/details/TheGarciaProject2014-07-25
With such success this past summer the band will be looking forward into the Fall season with a main stage appearance at this year’s Wormtown Music Festival in Greenfield, M.A. Sept. 12-14, where they will be opening up for Dopapod and Max Creek. Making their way from the side stage to the main stage is an accomplishment bands strive for when first starting out and the Garcia Project has made the leap and audiences are welcoming them with open arms.
If you haven’t seen this band yet and you are a fan of JGB or the Grateful Dead, you must get out to see them – and run, don’t walk to their next appearance. You can catch them on Sept. 20 where they will be opening for New Riders of The Purple Sage at the Autumn Equinox Festival at Page Farm in Croydon, N.H. They will return to the Capital District to play the Rustic Barn in Troy, N.Y. on Sept. 27 with special guests Knot Dead. The band will then head to Glens Falls on Oct. 24 for a special evening at the Wood Theater where they will recreate a classic JGB show for fans. This band is on the move and a must see for any Dead Head. For more show dates please visit the Garcia Project online.
NYS Music recently had the opportunity to speak with Mik and Kat from the Garcia Project about why they were drawn to Jerry’s music and where they find their inspiration.
What was it about Jerry’s music that drew you to it, specifically?
Kat: I think the thing that initially drew me into his music was the affect it had on people. I kept meeting these folks that seemed to be living life with a different perspective. They were seemingly positive, carefree, and excited about life. It was like the old saying goes, when you see someone having a good time, “I’ll have whatever they are having.” I had to look into this music and community and see what it was all about.
Mik: I found the Jerry Garcia Band in 1988 and fell in love with the song choices that the band played and the incredible, beautiful guitar tone that Jerry had. Jerry had a way of showing emotion through his guitar playing and singing that I just never heard from anyone else. Also, the warmth of the fans at a Jerry Garcia Band show was infectious. It was a place where you could go and relax, let your hair down, talk to other like-minded folks and enjoy the music. There has not been anything else quite like those experiences.
When were you introduced to Jerry Garcia’s music – his or the Dead’s, what circumstances surrounded it?
Kat: Before I was a Deadhead, I met someone who mistook me for one. I had no idea what a Deadhead was and not very familiar with The Grateful Dead’s music. So, of course, this made me curious. I inquired and they brought me to a show soon after. I felt at home right away and started dancing immediately. This is not only unusual when a person doesn’t know the music, but i had not really danced in public before to any music. It was a freeing experience. I was in awe at people’s kindness, openness, and concern for each other as strangers. A very eye-opening night, seeing for the first time that society could be different from I knew it to be.
Mik: I listened to The Grateful Dead, Pink Floyd, Led Zepplin, The Rolling Stones and The Beatles throughout High School in the late eighties. In 1987, right after I graduated, I went to see The Grateful Dead with my HS friends in Rochester, NY. It was at Silver Stadium and the ride there was filled with anticipation! When we hit Rochester, I saw a sea of people dressed every kind of way, in every kind of color. We parked and walked around and talked with everyone that we could and eventually went into the show. I saw a huge speaker system with scaffolding on the end of the field and a huge american flag tarp was laid on the field (to cover the wires, etc?) They were pumping Sgt. Peppers on the pa system and everyone inside was just having a blast! I made my way up to the front of the stage, past the flying marshmallows and frisbees. I really thought to myself that “The Grateful Dead” were not a band that performed, it was much more than that….we were all part of the show. Then the band came out and opened the show rocking. I was hooked.
Along with Jerry, who would you say are your most significant influences?
Kat: It’s hard for me to narrow that list down to any reasonable degree. I take my inspiration from all singers with soul, past and present, from all genres of music. When I am studying a new song, I listen to every version of that song I can find. I search for every person singing it on YouTube and Archive.org. I look for the current really good bands and singers out there and see what they’ve done with it. I always find and listen to the original version, if it’s something Jerry covered. Then, I take that inspiration and knowledge and figure out what my take on it is.
Mik: Hmmmmm. Let me think about that.
Why did you decide to focus on JG instead of the GD as a whole?
Kat: The Jerry Garcia Band music always felt special. It touches hearts, soothes souls, and eases minds. Manifesting love and good vibes together is so important. People come in weary and leave rejuvenated by gathering together and helping create the community, and the music. I feel so grateful that i got to experience these shows, the community, and the consciousness while Jerry was still around. If we can create an atmosphere and play this music so that people can still gather and hear it, and be even a little bit as happy and inspired as we were with Jerry’s band, then it’s a mission worth pursuing.
Thanks for asking 🙂 <3
Mik: I had been playing Grateful Dead music for years. I never really tried putting together a band that played Jerry Garcia Band stuff…It was kind of like a holy grail to me. Once we started down this path it became apparent I needed to perform this music and people needed to be a part of it as well. There are new fans that never got to see The Jerry Garcia Band and older fans who miss it as much as I do. If we all get together and make a show happen, it is an amazing experience. Currently, we are performing actual classic set lists (shows) from the ’70s, ’80s and ’90s. We do the same songs and perform with the inspiration from listening to the old shows. It’s not a note for note thing, but more of a feeling and vibe.
Thursday, September 11th, the rock will invade Albany at The Low Beat. From the ashes of Valentines, this new venue over on Central Avenue has risen, and has already brought some great live acts to the area. This night aims to be no different, as some locals and some out of town bands will help send off The End Men on their two week tour of america.
Photo by The End Men
Henry’s Rifle, straight out of Albany, will bring his one man, dirty rocking banjo music to the stage. Fresh of of the Muddy Roots festival in Tennessee, and poised to drop his brand new album, “Barroom Weather” very soon, his rackus, infectious sounds will surely brighten your day and get you ready for the night.
Sun Voyager, out of Orange County New York, will be slinging psychedelic garage rock licks at the audience in full helpings. Usually hitting the Brooklyn scene, it will be a treat to see them in Albany, alongside such luminaries of local rock and roll. They are part of King Pizza Records, and definitely check out their Bandcamp if you haven’t already.
Charmboy, another Albany based band, are a product of the no nonsense rock and roll of the 70’s and they are proud to produce guitar laden rock without gimmick or pretense. Tight riffs and tasty jams will feed the hole in your soul where rock and roll lives. They will be sure to do what they do best; melt faces and hearts alike with their pure inspiring music.
The End Men Fall Tour
The End Men, from Brooklyn New York, definitely call Albany their home away from home at this point. Joining up with the fine collective of musical folks at Built4BBQ, they have made the pilgrimage upstate a number of times to great crowd response. The two piece, though rumoured to be rounded out by a mysterious saxaphone player for this tour, bring an incredibly huge sound with them wherever they set up shop. They have been tearing up stages in America as well as Europe for over four years now, and they show no signs of taking a break. Each time they come to this area they try out new material, engage the crowd on and off the stage, and make for an immersive experience full of their own brand of psycho dirty blues laden rock and roll.
Show starts at 8PM at The Low Beat, for only 5 dollars. Check out the Facebook event.
One of the most notable events from the Party in the Park lineup was Dark Star Orchestra’s event, which featured a random set-list, not a specific recreation of an authentic Grateful Dead show as they are famously known for. The set-list featured gems like “Loose Lucy” and “west L.A. Fadeaway” in the first set while the second set had highlights, “Foolish Heart” and encore “Dear Prudence”. Despite they did not choose a set-list from a show, the energy was still there and family was all around.
Summer has come and gone and the Autumn time is coming soon, when we look back to those hot summer nights, many in Rochester will surely think back to the superb Party in the Park concert series we enjoyed this year. The location had been brought back to the original spot at the Martin Luther King Jr. Memorial Park at Manhattan Square, and Rochestarians couldn’t have been happier about the re-location and the hot line-up.
Setlist – Dark Star Orchestra Party in the Park
Set One: Greatest Story Ever Told ; Quinn The Eskimo (The Mighty Quinn) ; It’s All Over Now ; Loose Lucy ; Lazy Lightning > Supplication ; West L.A. Fadeaway ; Big River > Mystery Train ; On The Road Again ; Let It Rock
Set Two: Feel Like A Stranger ; Foolish Heart > Lost Sailor > Saint Of Circumstance > Unbroken Chain > drums > space > Fire On The Mountain > Hey Jude > China Doll > Johnny B. Goode
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.
It was a rainy and miserable day on August 22 at the Great New York State Fair. However, some great hard rock rolled through the grandstand. There were some problems going into the show. First and foremost, Seether, Buckcherry, and These Raven Skies DID NOT appear at this stop due to outside conflict of interest, which may have hurt the ticket sales. On top of that, there seemed to be a lack of promotion behind this show. I would be worried if Rockstar Uproar will stop in Syracuse next year.
Doors originally were supposed to open at 2pm that day, but due to the amount of bands that pulled, the show started at 3pm. The first set of bands performed on the smaller “Festival Stage” which was set on the dirt track right next to the grandstand stage. I did like how the vender tents and autograph tents were positioned on the far side of the track. The stage itself looked and sounded great. There was only one problem. Dirt track and rain is a messy situation. But bloody hell, it’s rock and roll. The first band Blame Anchor did a fine job opening the set. There must have been only 400 people when they started. Blame Anchor was the band that won the battle of the bands competition to be part of Rockstar Uproar. I think their fifteen minutes of fame pending the rest of the tour will pan out for them. Blame Anchor played a very short set, but made it count. They had a Godsmack vibe to them.
Bad Seed Rising played their half hour set. They’re just kids, but they impressed. It’s really hard for bands in their teens to really take off with rock and metal, but I believe Bad Seed Rising can make it in this harsh industry if they stick to their guns. They’ve got some real heart and talent.
Canada’s Sons Of Reverly are definitely the odd band out of this line up, which is not a bad thing. It just shows they got something to prove as they’re an unsigned indie band. They were the winners of last year’s Rockstar Uproar battle of the bands. This year they made it on to a permanent slot. The fascinating thing about watching them is how they eventually won the crowd completely over by the end of their set. They seem to have a little flavor of Rush, but they have some heavy songs and songs that people can relate too. I would imagine this band will be signed within the next year. I had the privilege of interviewing them after their set.
Tattered and Three Years Hollow played good and heavy sets, but it was festival stage headliners Escape The Fate that really made that stage explode and laid the foundation. They played a fast and heavy set and egged on the crowed, too, to get them going. Clearly, a hungry band that continues to grow and make an impact on the radio and on the road. It was surprising they were not on the main stage because they clearly belonged there on this tour. By the time Escape The Fate finished, there must have been about three thousand people in attendance. Not exactly staggering numbers for a grandstand show at the fair, but the people who were there were lucky to see Escape The Fate perform.
After Escape The Fate graced the stage and the festival stage closed down, Pop Evil opened the main stage. There was only one problem. It was almost an hour before Pop Evil started. I understand setting up the stage and production is hard work, but there was no reason for it be that long. Especially the fact that this show had two stages. But despite the long wait, Pop Evil clicked on all cylinders and was definitely a highlight of the entire show. Their set consisted of songs from all three of their albums. Songs like “100 In A 55”, “Dance With The Devil”, and “Last Man Standing” were great and had awesome performances. Pop Evil is certainly making big splashes and really solidifying themselves as a premiere headlining act.
Because of the shortage of bands that were originally billed, it was yet another long ridiculous wait for Skillet. It may have been worth it though as Skillet was easily the best band on the bill. They’re production was bigger than it ever was. They had violinists on stage with them too; it was such a spectacle. There was a lot of energy put into their performance, and it was a nice change of pace to hear music with a positive message too. Skillet played most of their hits, but the song that stood out the most was definitely “Awake and Alive”, which had a slightly different take on it than we are used to hearing. I did find it a little odd that Skillet, who are strong Christian believers, were on the same bill with Godsmack because Sully Erna is a member of the Church of Satan. But it’s about the music, not the beliefs.
Godsmack, of course, headlined the show. Now don’t get it twisted, Godsmack ALWAYS puts on a great show. Even if they’re off a little on a night, you’re always going to get a great show from them. Now, I have seen Godsmack multiple times. For the past decade, the band has been no stranger to Syracuse and the rest of Upstate New York, so I’m sure there are a lot of people who have seen them multiple times. That being said, they seem to have lost a little fire in their performance that night. It was still a great show, but the energy that I am used to seeing from Godsmack over the years, I did not see at Uproar. Most notably in lead guitarist Tony Rombola. He’s very talented and was a nice guy when I met him a few years back, but it just seemed he lacked the passion he used to have on stage. I’ll give him the benefit of the doubt though as maybe it was an off night or that the band is a little rusty from taking the last couple of years off. As far as their set, it was a good mixture of their classic hits and some songs off of their latest release 1000 HP. Of course, the one thing that stood out during the show was the dual percussion solo between Sully Erna and Shannon Larkin. Always enjoyable to see. And during “Whatever”, Erna threw beers at the crowd and invited some fans on stage – most notably the guy with the HUGE afro that fascinated Erna. It was pretty amusing.
Overall, it was a good lineup, but could have been so much more if Seether and Buckcherry were able to make the bill. I think fans would have gotten a much better bang for their buck and the show would have had MUCH better attendance.
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.
