In the realm of pop music, few groups have left as indelible a mark as New Kids On The Block. With a career spanning several decades, the Boston-based quintet has continued to capture the hearts of fans worldwide. One of their standout albums, The Block, initially released in 2008, has recently undergone a remastered transformation, breathing new life into an already iconic collection of tracks.
The Block Revisited is more than just a trip down memory lane; it's a sonic journey that showcases the enduring appeal of the New Kids On The Block and their ability to adapt to contemporary musical landscapes. While the original release was met with critical acclaim for its blend of infectious pop melodies and R&B influences, the remastered edition elevates the listening experience to new heights.
The first thing that strikes the listener is the crispness of the tracks. Each beat, every note, and the nuances of the vocals are now sharper and more defined, giving the album a refreshing sound that resonates with modern sensibilities. The remastering process has successfully managed to preserve the essence of the original recordings while simultaneously enhancing the overall sonic quality.
One of the standout tracks on the album, "Summertime", benefits immensely from the remastering treatment. The infectious energy of the song is now even more palpable, with the beats hitting harder and the harmonies soaring to new heights. The subtle nuances in the instrumentation are brought to the forefront, allowing listeners to appreciate the song's intricate production in ways they may have missed in the original release.
Similarly, the title track "Single" takes on a new life as well and one of my favorite on the album. The thumping basslines and synth elements that underpin the song are more pronounced, creating a dynamic and immersive listening experience. The vocal performances, which were already stellar in the original version, now shine even brighter, showcasing the group's undeniable chemistry.
What sets The Block Revisited apart is its ability to transport listeners back to the late 2000s while simultaneously sounding relevant in the present. The remastering process has not only revitalized the album but has also made it accessible to a new generation of music enthusiasts who may not have experienced the New Kids On The Block phenomenon during their heyday.
In addition to the sonic enhancements, the remastered version of The Block includes bonus tracks that add further value to the listening experience. These additional songs seamlessly blend with the original track list, providing fans with a more comprehensive look into the creative process behind the album. The inclusion of bonus material is a thoughtful touch that adds depth to the remastered edition, making it a must-have for both devoted fans and newcomers alike.
While some may argue that remastering can sometimes dilute the authenticity of the original recordings, in the case of The Block, it serves as a testament to the enduring legacy of New Kids On The Block. The remastered version not only pays homage to the group's past but also positions them as relevant and influential figures in the contemporary music landscape.
That said, The Block Revisited is a triumph that showcases the timelessness of New Kids On The Block's music. The crispness of the tracks, the meticulous attention to detail in the remastering process, and the inclusion of bonus material make this release a true gem for fans old and new. It's a testament to the group's ability to evolve while staying true to their roots, solidifying their status as pop music icons. Thanks to Jordan, Donnie, Joey, Danny, & Jonathan on a job well done. Definitely looking forward to catching NKOTB live in 24' with Paula Abdul & DJ Jazzy Jeff (and you should be too!).
This one gets a 9/10 and is 100% Hunnypot approved.
- James Coffman
The original concept of the guitar was created in the fourteenth and fifteenth century. Since then, countless millions of people have learned to play the instrument and tried to craft their own path with it. In the past few decades, a select few musicians have legitimately stood out and reinvented the guitar like Jimi Hendrix, Tim Henson, and most importantly Eddie Van Halen. With the latter changing the landscape for rock and metal music like no one has ever seen. Eddie also gifted the world with one other musical wonder, that being his son Wolfgang Van Halen. Wolfie has spent his time not only mastering the guitar but honing his skills on every instrument. Releasing his first album Mammoth WVH in 2021 where he wrote and played every note on the album, including singing on it. The album was a commercial success, praised by critics everywhere, and went #1 on multiple charts. He has now released his sophomore album Mammoth II and hit the road on a headlining tour with fellow guitar master Nita Strauss. Coming home to Los Angeles to sell out the Belasco Theatre for the final stop of the tour, fans lined up around the block ready to chant for Wolfie!
Starting the night off with ripping guitar licks was Nita Strauss. Getting first into the limelight as the guitarist for Alice Cooper. It was with her latest solo album The Call of the Void that Nita Strauss really made a name for herself as a phenomenal guitarist and performer. Starting out the set with “Summer Storm” Nita was all smiles and glee as she was ready to perform for her hometown friends. Backed by a band consisting of her fiancé Josh Villalta on drums, Johnny Young on rhythm guitar, Christopher Dean on bass, and Katt Scarlett on keyboards, Nita surrounded herself with fellow musicians that help heighten her skills on the axe. The first half of the show consisted of some of her most popular instrumental tracks like “Our Most Desperate Hour,” “Mariana Trench,” “Alegria,” and “The Quest.” During these songs Nita was playing right to the audience, getting as close as she could. With her ever flowing hair whipping back and forth as she headbangs through the entire show. It’s honestly a miracle her hair doesn’t get knotted or tangled up with how crazy it flies around. The second half of the set, Nita was joined by vocalist Kasey Karlsen of Deadlands. Nita’s brought in a slew of talented guest vocalist in the past like Alissa White-Gluz, David Draiman, and Dorothy. Kasey had big shoes to fill performing these songs live, and she handled them with ease. From roaring like Alissa on “The Wolf You feed,” to singing with a pure ear candy tenor like David on “Dead Inside,” and singing with power and passion like Dorothy on “Victorious.” Nita Strauss continues to build herself as more than just a guitarist, but a musician that can write music for the masses and she delivered in spades. If she is not already, Nita Strauss needs to be talked about in the same breath as Joe Satriani when it comes to the best instrumental solo musicians in the industry. She's that impressive.
As we waited for our headliner to take the stage; a backdrop fell from the ceiling with the Mammoth WVH logo on full display for everyone to see. As this dropped, the crowd cheered for the performer that was to come. The moment was made even more special for fans as Valerie Bertinelli (Wolfie’s mom) peaked out from backstage to wave at the crowd. Finally, the opening notes to “Mammoth” rang out over the speakers, the band was ready to take the stage. Strapped with his custom EVH guitar, Wolfie was ready to perform for his adorning family, friends, and fans. Wolfie has a soothing and pleasant voice that lets him sing in a soulful manner, but he can add grit to it when he really wants to lay into the vocals. He’s not the type of lead singer/guitarist to just sit into playing rhythm, he steps out into the front of the stage and shows he can shred just like his dad. Even with all this talent, Wolfie still knows how to pull back and let the rest of his band shine. Fellow guitarist Frank Sidoris holds his own on guitar swapping between rhythm and lead for each song. While Jon Jourdan helps keep the melody on third guitar. Bassist Ronnie Ficarro is nothing but a showman, as he plays up to the crowd while staying in time with drummer Garrett Whitlock who is lost in the energy of his playing. One of the highlights of the night for me was hearing “Take a Bow” live. The song mostly plays through with a somber feeling, but as we grow towards the solo, Wolfie attacks the guitar with vengeance. Riding the string with melody before unleashing a technical master class of finger picking. The night was a mix of both of Mammoth WVH’s albums with songs like “Right?,” “Miles Above Me,” “Like a Pastime,” “Optimist,” “Stone,” “I’m Alright,” “Epiphany,” “Think it Over, “Distance” played as an acoustic song which made it even more emotional, “Waiting,” “You’re to Blame,” “Feel,” and coming out for a two song encore of “Another Celebration at the End of the World,” and finally “Don’t Back Down.”
With a final bow to the audience, Wolfie showed that he is more than his name. He is a true talented performer through and through. Even if he didn’t have the Van Halen name behind him, I have no doubt he would have made a name for himself in the music industry. The talent he shows over every instrument, his vocal chops, and he is a natural showman, Wolfgang would be playing to venues in no time. None the less, we are happy to see him carrying on his dads legacy and continuing to make him proud.
Busta Rhymes first hit the hip-hop scene in 1990 with his group, Leaders of the New School, and their debut album, A Future Without A Past… but what probably put him on the map was his verse on the 1991 A Tribe Called Quest’s song, “Scenario”
“Watch; as I combine all the juice from the mind
Heel up, wheel up, bring it back, come, rewind
Powerful impact (BOOM!) from the cannon!
Not braggin', tryna read my mind, just imagine
Vo-cab-u-lary's necessary, when diggin' into my library
Oh, my gosh! Oh, my gosh!
Eatin' Ital Stew like the one Peter Tosh
Unh! Unh! Unh! All over the track, man
Unh, pardon me, unh! As I come back!”
“As I did it, yo, I had to beg your pardon
When I travel through the town, I roll with the squadron
RAWR! RAWR! Like a dungeon dragon
Change your little drawers 'cause your pants are saggin'
Try to step to this, I will twist you in a turban
And have you smellin' rank like some old, stale urine.”
This is what made me and so many others a Busta fan. His style was something new, something raw, something in your face. Since 1991 Busta has put out 13 studio albums, either with Leaders of the New School, Flippmode Squad or his solo work, along with countless collaborations through the years. His last album was in 2020, so it was time for him to hit us with something new. And something new is what we got. He brought in legendary producers Swizz Beatz, Timbaland and Pharrell to work on his latest, Blockbusta. So the thought was, he’s going to hit us with some old sounding Busta and a heavy influence from the producers. While you may get a hint of each producer, at times you find it hard to figure out who was producing what track. Is that good or bad, I am not sure, but this was not an overall typical performance from Busta either. I feel this was more a modicum of modern styles and beats that did not give a cohesive flow throughout the album. He has a ton of guests with him and he hits on many different styles; Afrobeats, Dancehall, Reggae and Trap. In some ways this works so well, but this also leads to the in-cohesiveness of the album. The first track, “The Statement” is a perfect start to the album, makes you think you are getting that typical Busta, setting the tone where he delivers a two minute long verse letting you know about his imprint on the game.
“How many times do I gotta remind you niggas that I'm one of the greatest?
And I will just rewrite the pages of every history book while they askin' me
Save us from all of this other bullshit that they be listenin' to while you just amaze us.”
“Remind ‘Em” featuring Quavo is one of the tracks that works with a weird sense of tension between their two different styles on the mic. “Beach Ball” featuring Bia has a bouncy beat and some catchy rhymes, but kind of falls short. He takes us to “OK” with Cool & Dre and featuring Young Thug. A nice beat and the back and forth between Busta and Young Thug make this song work, but it does feel a little out of place at times. I really like the sample of Miguel featuring J. Cole’s “All I Want Is You,” in “Could It Be You” featuring Blxst and Yung Bleu. I like this groove but we could use more Busta in this song. There are songs throughout this album where it feels like Busta is the featured artist and not the main artist. Busta follows it up with another strong sample, a song that would have worked years ago and works today, “Luxury Life” featuring Coi Leray. I love the way they flow back and forth, takes me back to some old Busta work. The song samples The Whole Darn Family classic “Seven Minutes of Funk,” best known for being sampled on Jay-Z and Foxy Brown’s “Ain’t No N****.” Another collaboration that works well on this album is “Big Everything” featuring DaBaby and T-Pain. We get some of that fast, strong lyrical flow from Busta. I do wish we had a little more T-Pain in this joint. Busta pushes himself with the Afrobeats “Roboshotta” featuring Burna Boy. A nice strong beat, Busta does a nice job in this with the style and lyrics, but Burna Boy outshines. “Tings” is not a great lyrical song, but is a rhythmic and energetic song that shows Busta’s ability to try new genres with this uplifting joint.
Mid-way through the album Busta hits us with “The Return Of Mansa Musa” featuring Swizz Beatz and Ghanaian singer Blackway, the two compliment each other in this song that samples the 1972 “Soul Makossa” by Manu Dibango. Next up is “Stand Up” featuring Jnr Choi. This samples Coolio’s “Gangsta’s Paridise,” and while I like the subtle sample in the background, I don’t care for the flow from either Busta or Jnr Choi is this track, it almost feels too forced by both of them. Chris Brown and Shenseea join Busta on “Open Wide.” This R&B/Reggae groove is one of my favorite songs on the album, but not because of Busta. I think he fails to hit us with his strong lyrical presence in this song. Chris Brown and Shenseea sound wonderful and the flow between them make this song. “Hold Up” takes me back to some old Busta lyrics and flow, but not enjoying the music producing in this track. It feels forced with no real thought to it. “The Hive” featuring Giggs is up next and to me really falls short. This UK drill just doesn’t flow with good lyrics or presentation. The beat is lackluster as well. Kodak Black joins Busta on “Homage,” another flat composition, to a point where it feels the album could have ended with “Open Wide.”
We come back with “Legend” featuring Morray, a nice chill beat with this, but another song where it seems Busta takes the backseat. This song is really about Morray. Morray with a nice fast flow throughout. “Slide” feels like a segment of a song instead of an all-out full track. Busta rides the beat and unexpected jazz piano riff with ease. This song is solid but could have been strung out longer. Busta has three of his six kids join him on “Legacy,” Cacie (Cie), Trillian and Mariah (Rai). This has a nice old school beat and rhythm where they all flow effortlessly through the music. I wouldn’t mind hearing more from them on this album. The album is finished off with “If You Don’t Know Now You Know Pt. 2 featuring Big Tigger. A good solid tune to finish off this album, Busta and Big Tigger with some nice lyrics taking us back in time.
While this is not a masterpiece, we do get some good tracks, some nice lyrics and some strong collaborations, there is the element of inconsistency, indecisiveness and even a strange bizarre element, but I feel most of these tracks are more solid as stand alone single instead of part of an album. There are times his Live-wire energy shines through, at other times it feels like he’s trying too hard to fit into today’s hip-hop style. And that is not Busta. This is a mixed bag, there is a lot to like throughout this project, but there is a lot of wanting more or something changed up and some confusion. This is worth a listen, it’s worth more than one listen, there is something for everyone in these 19 tracks.
One Love
Todd
I have been to numerous amounts of venues in the Los Angeles area. Sometimes I feel like I have been to them all. Yet, I’m still surprised when a show gets announced at a place I have never been to. I was personally invited by our fearless leader at Hunnypot, Hot Tub Johnnie, to come out and see a band that he personally promotes, The Darts. I had not heard of this band before, but if Johnnie talks highly about them, I knew I would be in for a good time. Supporting them on this show was LA based bands Speed of Light and Casa De Brujas. Along with a very special DJ set by Drew Carey. Yes, that Drew Carey. The show was at the Paramount, a venue I also have never been to. As I walked through the doors to a new venue with bands I’ve yet to experience, I knew I was in for a treat of a night as there was already a line forming with fans wearing merch from all the bands ready to rock out.
As the doors opened, and people slowly funneled in Drew Carey sat in the DJ booth spinning jams to warm up the crowd. I have been watching this man on TV since I was a kid, both on his Drew Carey show and the world famous Whose Line. His jams started with some slow grooving classics that sounded like they came from the 50s & 60s. But as the time grew closer for the first band to go on, he picked up the BPM to play some more fast-paced rock songs. Opening the night was a dark wave band Casa De Brujas. Made up of vocalist Jacqueline, guitarist Anita Dreenk, and bassist Kat Chaos. These witchy ladies were there to cast a spell on the Paramount and entice the patrons of the night. There set was tantalizing and featured a bewitching cover of Donovan’s “Season of the Witch.” Casa De Brujas cast a spell on the patrons of the Paramount who were ready for more music.
As we awaited Speed of Light to take the stage next, fans could be seen maneuvering their way to the front of the stage, making sure they were as close to the experience that was about to happen as possible. Seeing this many people jockeying for the front of the stage position normally leads me to believe the band I am about to see has something special to offer. Opening with the song “Release,” I was knocked back by the explosion of in your face dirty rock riffs and the stage presence that the band brings with them. Speed of Light consists of siblings Riley on vocals and bass, Cameron on guitar, and Tyler on drums. Riley’s rasp filled screams on vocals carries the weight of a person who is tired of being shushed their entire life and is ready to let their voice be heard. The tenacity she brings is so raw and focused, it can’t be avoided or shut out. Playing off her brother Cameron, the two are a dynamic duo with their axes, creating their own mosh pit against each other on stage as they play. Tyler brings power to Speed of Light, with his drum strikes always hitting with purpose and precisely placed emphasis. Playing a set which contains songs like “Kill the Vibe,” “Tightrope,” “Pain on a Chain,” “Shuffle,” “Frequency,” “Bleed,” “Feed,” “Chains,” “Change,” “Get Away,” “Teeth,” and ending with “Séance/That Girl.” With the final song, Riley jumped into the crowd to start a mosh pit with the fans, bouncing and bumping around the venue. Speed of Light brought stage presence, fantastic music, and a quality that most major label bands can not bring to a stadium tour. I highly recommend seeking these guys out next time they have a show anywhere.
What would you get if you mixed the vibes of 60’s psychedelic rock, with the ferocity of the Sex Pistols, and the look of Josie and the Pussycats? You would have The Darts! This four piece all female punk quartet is bringing style and panache back to the public. Lead singer and keyboardist Nicole Laurenne is a playful minx, luring fans into her grasp. Dancing and bouncing across the stage, she captivates anyone who happens to lay their eyes on her. Guitarist Dusty Rose rides the reverb of her guitar right into 60s surf rock sounds that transports the crowd out of downtown LA and to the tropical paradise of a beach party. Bassist Christina Madcap and drummer Mary Rose “Beef” Gonzales handle the low end with precision and tac, creating a groove that just boogies. The Darts aren’t afraid to get up close and personal with their fans, with Nicole leaning over the edge of the stage singing right into fans’ faces. A little boy was also in the crowd close to the stage, and the whole band throughout the show made it a point to interact with him. Truly building a connection with their adoring fans and creating new ones in the process. Playing songs like “My Heart is a Graveyard,” “Snake Oil,” “The Cat’s Meow,” “Bullet,” “Love Tsunami,” “Love You to Death,” “Your Show,” Pour Another,” “Hang Around,” “Shit Show,” “Bring it Back,” “Pour Another,” “Intersex,” and ending with “Breakup Makeup.” With one final playful act Nicole, Dusty, and Christina created a cuddle puddle on top of the keyboard, playing into the male fantasy by drawing the fans into the show one last time.
Walking into the Paramount this night, I had no idea what to expect from this show, but I am so glad I came out. Speed of Light just came off tour as direct support for Bad Religion. These siblings are already on their way to making a name for themselves, and they created a new fan in me. The Darts were candy to both the eyes and the ears. They brought a style of music that isn’t heard in the mainstream too often, but with a modern twist to it. Smaller shows like these never cease to amaze me with the quality of bands that are out there, that have yet to hit the mainstream or big arena’s. Sometimes walking into a venue will introduce you to people and music that needs to be heard by the masses, but you discovered them first.
When Mxmtoon got on the stage at The Echo for her Plum Blossom (Revisted) Tour, she was completely ready for it and so was the crowd. Her cheerful energy was contagious and her performance felt intimate, in the sense that she was performing for a group of friends. It made the space feel very warm and comfortable. During her set, fans would talk to her and she would respond back usually in a comedic way that entertained the audience. She even talked about being grateful that because of her fans, she can be vulnerable and authentically herself on stage and her honesty on that was refreshing to see. I'm sure her fans as well feel the same way. I really appreciated her talking about her experiences as well. In between songs, Mxmtoon would talk a lot but it never felt boring or unnecessary, her bit on Josh Hutcherson was really funny.
I also really enjoyed that she'd talk about anything, including video games, such as overwatch, and the crowd would love it. Anyone from their teenage years to their 20s, I feel like can connect and relate to Mxmtoon. One of my favorite songs during her set touched upon the subject of how we try too hard to look like we have picture-perfect lives online and honestly how stupid it is. I feel like it’s a song that will have a good impact on the world because trying to look perfect online is overall something we shouldn't be doing anymore. Painting things picture perfect is not just draining on yourself to keep up that image but it also pressures other people into feeling like they need to be that way too. Overall not good for anyone, it's overall healthier and easier to just be yourself.
Besides perfection is something impossible to obtain. I'm glad that Mxmtoon encourages her fans to be themselves and has also been a voice for the LGBTQ+ community as well. It was also cute seeing her fans give out things like their kandi bracelets and even letters to her up on stage and you can tell she appreciated every single one of them. Instead of the typical applause, we got things like people saying yippee, which was pretty fun. During one of the songs, everyone turned their lights on and put hearts on their phone and it was a beautiful moment. The lights and flowers on stage also looked very aesthetically pleasing and were fun to photograph.
For the encore, which everyone saw coming from a mile away, everyone sang "Riptide" together with Mxmtoon and the combined energy put into this song was louder and filled up the room even more than metal shows I've been to. The show ended quicker than I thought but when it was over, I wasn’t ready for it to be over. Her songs about growing up and going through life are very relatable and I would one hundred percent catch her again anytime.
Emerging from the vibrant heart of Miami, Florida, 19MIL is carving a distinctive niche in the music landscape. With her signature goth R&B POP sound- characterized by captivating vocals, powerful production, and a mesmerizing tone- she’s not just making music, but crafting sonic masterpieces that resonate with a generation.
Although she’s been on the music scene for just over a year 19MIL’s journey into the realm of music was a serendipitous one. It was an influential figure, now absent from her life, who introduced her to the industry, and this gesture of destiny is something she will forever cherish. While 19MIL has a penchant for artists like Lil Peep, Yeat, and Lil Uzi Vert, she doesn’t often veer toward female artists. However, she unabashedly admits to being a die-hard fan of Billie Eilish.
Originally from the serene beach town of Treasure Island, Florida, where the music scene is predominately dominated by beach bar bands delivering covers, 19MIL stands out as a beacon of originality. To her, music composition is no less than a herculean task. From finding the right lyrics and crafting harmonious rhythms to delving deep into the myriad layers of production, every step presents its challenges. Yet, she persists, driven by the desire to be sure her message is conveyed accurately.
For 19MIL, music is more than just a creative outlet - it's a means to connect. Her core mission in producing music is to resonate with her listeners, to let them know they’re not alone in their feelings. She aspires to be a voice of reason, reassuring her audience that shared experiences are universal, and its okay to stand out. “You can be the light in a dark place,” she proclaims, emphasizing the need to persist through challenges.
Currently, her energies are laser-focused on refining her distinctive sound and releasing a slue of singles. Among them, the latest is “Deep End.” A visual and auditory treat, this track is more than just a song - its an emotion. Whether listeners are seeking solace in their room or cruising with the top down on a freeway, “Deep End” promises an immersive experience, an intricate blend of emotions and melodies that beacon listeners to hit repeat.
Hunnypot is proud to be 19MIL's official sync representative, ask us about LICENSING!
-John Anderson a.k.a. Hot Tub Johnnie
Back in my younger days, my favorite night club to attend every Wednesday was called Necropolis. This was our local goth club, held on the outside patio of a nice Italian restaurant after hours. I went religiously every week, made friends that I still cherish to this day, and was introduced to gothic and industrial music. One band that the DJ’s played weekly was Skinny Puppy. The rhythm, the style, the beat of their songs would be a hit on the dance floor and get everyone moving. The band hasn’t been active in recent years, and I have been curious to see them live for a while now. Well, it finally happened, for better or worse, but Skinny Puppy announced their Final Tour. To them, it was time to hang up the outfits and call it quits. I knew I had to be there for this monumental farewell tour for a band that has been an influence in the industrial scene to more bands than people probably realize. Making their penultimate stop at the House of Blues in Anaheim, CA.
As the doors opened to the elevator of the parking garage it was a feast to the eyes as all the industrial goths were out in droves. As I took the first couple steps towards the venue, there was a gaggle of goths huddled together smoking cloves. The scent of the cigarettes transported me back to my days in Necropolis surrounded by my friends. Walking into the venue was the biggest sea of trad goths I’ve ever seen in one place. Black teased up hair as far as the eyes could see, pale white skin with striking black eye liner, with drinks flowing everywhere. Though I haven’t been in the goth scene for a while, this still felt comforting and like I was surrounded by my people.
Finally, the show was ready to get started with the opening band being Lead Into Gold. Though I was not familiar with this band, I knew they had to be a complimentary fit to Skinny Puppy’s sound to be the only opening band on this tour, and as they kicked their set into gear with “Fugue (For BR),” I was happy to hear they were. Fronted by Paul Barker, the former bassist of Ministry, handling vocals, bass, and programme. As they played through the songs, Barker’s voice appeared to be modulated giving the songs a more technologic sound to them. Partnered with synth player Josh Holley, the duo created beats that got people in the crowd dancing as if they were under a highway over pass. Lead into Gold played a 45 minute set consisting of songs like “She Lies Beyond,” “To The Throat,” “The Eternal Present,” “Heroine’s Habit,” “The Final Blows,” “We’ll Take Tomorrow,” “Faster Than Light,” and ending with “Hard Won Decay.” With their final song, it felt like it had the most powerful back beat to it, and even more of the crowd could not keep from dancing in the audience.
During the set change, the remaining crowd who built the merch line looping around the lobby of the House of Blues piled into the auditorium. As the fans packed in shoulder to shoulder, I would be hard pressed to find out this was not a sold out show. As Skinny Puppy walked out, there stood a giant 10ft white scrim set up in the middle of the stage. Synth player cEvin Key got the beat started to “VX Gas Attack.” Guitarist Matthew Setzer hit the opening riffs basking in the glow of a green light behind him. Throughout the song, and others, he would pull out a metal rod that was used to bang off the strings, and sometimes play like a cello. Helping to add those industrial textures to his playing style. A bright backing light lit up the scrim. Behind the scrim a non-human shaped figure stood before us reaching up and trying to reach out. This was vocalist Nivek Ogre creating shadow puppetry. Once he came out from behind the scrim, Ogre dawned a black cloak obscuring most of his face, but what we could see were two giant bug eyes. It was then that the actual show started coming together as Ogre portrayed a newly discovered alien who has crashed down on Earth.
A Skinny Puppy concert was more than just a group of people playing music together, this was a show with a story line, plot elements, and theatrics! Nivek Ogre as the alien was a creature captured by a tormentor, and throughout the show the tormentor harassed and experimented on the alien creature. From slicing the alien’s neck open spewing blood over the front row, to using the blood of the alien to help bring an alien child to life, to beating the alien to an inch of death and removing half its skull and brain. As Ogre stumbled around the stage with half his alien skull missing, the tormentor and Ogre would constantly be pulling out goo from the empty crevice of his brain. The alien was able to take control and overcame his captors for a moment before the tormentor finally came back with a noose truly ending the life of the alien. This entire story played out through all of the music of Skinny Puppy, and Ogre was singing the entire time. Performing classic of their 40 year career like “Immortal,” “Rodent,” “wornin’,” “Tormentor,” “Deep Down Trauma Hounds,” “Human Disease (S.K.U.M.M.),” “Hardset Head,” “Pedafly,” “Morpheus Laughing,” “The Choke,” “Worlock,” “Inquisition,” and “Dig It.” After this enticing performance we just saw, the band came out for a four song encore with Nivek Ogre out of the alien costume, and performing as just himself for “Film,” “Smothered Hope,” “Assimilate,” and truly ending with “Candle.” Though the entire alien story was enthralling and captivating, seeing Ogre performing as himself was just as enjoyable and the man is a true performer.
Skinny Puppy’s music has been a part of my life since my days going to Necropolis, though it was very passive, and I wasn’t aware. My true first experience with Nivek Ogre was through the rock opera known as Repo the Genetic Opera where he played Pavi Largo. A monster of a man who would rip and steal people’s face’s and wear them. I love this movie and his performance so much that I cosplayed as Pavi Largo at a comic convention years ago. The movie has developed a huge cult following, yet when I talk to many friends and people about this movie or Skinny Puppy the band, a lot of people don’t know either. Nivek Ogre and Skinny Puppy have built a foundation that has gone on to influence some of the biggest music acts in the industrial scene, yet they themselves appear to fly under the radar of the mainstream. The fanbase they have built are all dedicated to them and show up in droves to see them one last time before they bid adieu. There was supposed to be only one more show after this one, up in Los Angeles. However, the tickets sold out so fast, and the band felt they were doing their fans a disservice and announced three additional Los Angeles shows which all sold out. To those that attended the last four shows, I know you will have an emotional time seeing Skinny Puppy one last time, and I felt incredible honored getting to see this Anaheim show.
There is a big conversation in the music industry about what is more important. Should bands be releasing new music with full length albums or are singles the better strategy. I will have to say that I am still passionate about full length albums. Yes, the singles will always be the biggest selling point, but you never know what deep cut you may fall in love with. When you fall in love with a deep cut track, you may not get the opportunity to hear the band perform it live. That is why anniversary tours can sometimes be the best times. August Burns Red decided to tour the 10th anniversary of their Rescue & Restore album, coming to the House of Blues Anaheim just after Thanksgiving. With fans giving thanks to this entire line up featuring Brand of Sacrifice, Spite, and Crystal Lake. It felt like we were waiting in a Black Friday line, awaiting the door busting deals of heavy music, a raucous crowd, and a fire mosh pit filled with crowd surfers flying over the barricade.
Opening the night is a metalcore band from Tokyo, Japan known as Crystal Lake. These guys have been on my radar for a while now, especially after missing their last tour with August Burns Red back in 2019. I craved the need to see them live ever since then, and it finally happened this night. Opening their set with “Mephisto,” Crystal Lake came out with an energy I was not expecting. With Metalcore bands, you can be used to high energy from the lead singer, and the instrumentalist moving around the stage during simpler moments in the song. Not Crystal Lake. Every member had the same fiery energy and could not be contained by one spot on the stage. New vocalist John Robert Centorrino had the ferocity in his voice but was maybe the most restrained on stage. Guitarist Yudai Miyamoto and Hisatsugu Taji, as well as bassist Mitsuru were all running around the stage constantly, slamming on their instruments, and flat out screaming at the crowd. Drummer Gaku Taura could barely be contained behind the kit. Often standing up and slamming down with full force on his cymbals. It’s a miracle they didn’t crack! The fans gave all this energy back and were constantly hurling themselves over the barricade. Making the security really stay alert and awake during this show. All this energy was kept up through their entire set of songs that featured “SIX FEET UNDER,” “Disobey,” “DYSTOPIA,” “Watch Me Burn,” “Lost in Forever,” and ending with “Apollo.” That itch to finally see Crystal Lake has been scratched, but not appeased. I await for them to come back as I need this kind of energy in my life more often.
Up next was a band called Spite, that kept the high energy going that Crystal Lake left the fans with. I was fortunate to see Spite earlier this year with Wage War, and that was an intense first viewing of the band. Now seeing them for the second time, I knew what to prepare for, but Spite continues to elevate the energy in their show and this performance proved to be even crazier. Opening the night with “Made to Please,” vocalist Darius Tehrani captivated me within seconds. His in your face attitude, his death growling vocals, and his off kilter stage personality could not be avoided. From wrapping the mic chord around himself, to playing with his hair during breakdowns, and turning into Cousin It while pig squealing, it was a sight to behold. Backed by a band that was just as charismatic, with guitarist Alex Tehrani being Spite’s own personal hype man while shredding away, he could be seen screaming at the top of his lungs with no mic to make sure the crowd was feeling the bands energy. Bassist Ben Bamford had a bit more of a laid back vibe on stage, but sync’d up with drummer Josh Miller, the low end was blasting away on the beats. Playing songs like “Caved In,” “Some Things You Should Know…,” “IED,” “Snap,” “The Root of All Evil,” “Thank You, Again,” “Dedication to Flesh,” and ending the night with “Kill or Be Killed.” Spite is a band I will no longer be passing over, and I don’t think anyone in the crowd will be either.
The third band of the night has been another band on my radar but eluded me until this night. That being Brand of Sacrifice. I’ve been seeing this band gain a lot of momentum in the last year, seeing their name on more and more prolific tours. So, I was ready to see what they had in store for Anaheim. What I was not ready for was the playfulness of their walk on song, as the Pokémon theme song played over the loudspeakers as the band stepped on stage. After the hilarity of the entire audience singing along to the Pokémon Theme, the band truly opened their set with “Dawn.” Vocalist Kyle Anderson was a beast commanding the stage with his presence alone. Once he finally released his guttural vocals, the crowd was under his control. Calling for the mosh pit to get bigger and bigger, as well as he wanted to see crowd surfers come over in waves, the audience was happy to oblige. Guitarist Liam Beeson is pulling double duty with ease, as the band recently reshuffled their members and lost their rhythm guitarist. Beeson plays his instrument with such technique that you question whether they even need a rhythm guy. Bassist Andrew Kim and drummer Chason Westmoreland are new to the band but fit right in with ease. They round off the band and match the energy that helps the tenacity that Brand of Sacrifice brings to every show. With songs played like “Demon King,” “Lifeblood,” “Altered Eyes,” “Exodus,” “Purge,” “Ruin,” “Millennium,” and ending with “Eclipse.” I feel Brand of Sacrifice, and specifically Anderson, should be talked about in the same conversations as Will Ramos of Lorna Shore.
Finally, it was time to see the band celebrating 10 years of their album Rescue & Restore, August Burns Red. I had been fortunate to see them two years prior, also at the House of Blues Anaheim, but that was with fill in vocalist Michael Felker. Though Michael brought a great voice and energy to the band, finally getting to see them with the true vocalist Jake Luhrs was a whole new experience. Seeing as this was their Holiday time tour, Jake dyed his beard white to bring more of a Santa vibe to his aesthetic. He carried himself with jolly and a playfulness that any child would be happy to tell their Christmas wish list to, yet this Santa can scream! It was a stark contrast of look to vocal presence, but the crowd ate it up. Dual guitarist John Benjamin Brubaker & Brent Rambler are masters of their craft and are riff making machines. Hearing them play riff after riff of each song on Rescue & Restore really helps show the style they had back during that time, but also how much texture they can add to each song to make them stand out. Bassist Dustin Davidson not only handles his four string with finesse, but he also helps on third guitar jumping in on the acoustic from time to time. Matt Greiner has really earned a reputation for being a slick stylistic drummer, and it’s obvious to see why live. He doesn’t just blast beat his snare, or kick away with the double bass. The man knows how to maneuver around his instrument to add groove, melody, and always hold down the pocket.
If you grew up listening to Rescue & Restore then the setlist would make you happy as they played the album in order starting with track one “Provision,” “Treatment,” “Spirit Breaker,” “Count It All as Lost,” “Sincerity,” “Creative Captivity,” “Fault Line,” “Beauty in Tragedy,” “Animals,” “Echoes,” and “The First Step.” But that could not be the only songs they played, as they came out for a five song encore. Starting out with their instrumental rendition of the Christmas classic “Carol of the Bells.” August Burns Red knows just how to add heavy guitars to a Christmas classic and keep the song festive. As the band worked through their last songs “Bloodletter,” “Revival,” “Composure,” and ending with “White Washed.” These were the last moments the crowd had to surf and mosh, and they did not let up roaring even heavier with the last few notes that range out.
I love watching the mosh pit ebb and flow during any concert, but this night I had to jump in there myself. The controlled chaos of the pit could not be passed up this night, and every mosher had to have felt the same. Though the bands genres flowed between metalcore to deathcore to progressive metal, each band kept the flames of metal burning with a passionate fury in each fan. I don’t think there was another tour happening this year that carried the same weight and ferocity that Crystal Lake, Spite, Brand of Sacrifice, and August Burns Red brought on the Rescue and Restore 10th Anniversary Tour.
When lockdown hit us in 2020, and we were all trapped inside of our houses, any frequent concert goer vividly remembers the last live show they were able to attend before concerts were cancelled around the world. We would constantly go back to that memory throughout lockdown remembering every detail like George Harvey savoring his last kill in the Lovely Bones. Fantasizing how the band played, how we felt throughout each song, how the venue and its patrons smelled. It was he only solace we had not being able to be back in that environment. For me that last concert was DragonForce mere days before the World stopped. Over three years later, they are finally back in California for their North America 2023 tour, and bringing with them Amaranthe, Nanowar of Steel, and Edge of Paradise. I was ready for the speed metal titans to rip blistering solos that would melt my face again, so I headed to the Wiltern ready to rock with these guitar heroes.
Opening the night was LA natives Edge of Paradise. I have been following these guys for years since they were playing local only shows in the area. It has been a pleasure to see them booking national tours and getting the chance to play for thousands of people each night. Seeing as this was their hometown show, they wanted to make sure all their long time fans got the best they had to offer. Singer Margarita Monet has probably the most powerful voice on this entire tour. She could sing to the packed Wiltern house without a microphone and still be heard by every single screaming fan in attendance. Draped in a cyberpunk style cloak, and glowing pauldrons, Edge of Paradise has been able to elevate their stage show aesthetic as well. Lead guitarist Dave Bates has turned into a post-apocalyptic warrior straight out of Mad Max, while creating riffs that help elevate Margarita’s voice. Rhythm guitarist David Ruiz layers his playing with Dave’s to create a stylized guitar line for the band. Bassist Kenny Lockwood and drummer Jamie Morena hold down the low end that helps the fans bang their heads. With songs like “Soldiers of Danger,” “Hologram,” “This is Personal,” “The Faceless,” “Unbeatable,” ‘The Unknown,” and closing with “Basilisk” Edge of Paradise set the tone for the night that was to follow. I personally cannot wait to see what else the band has in stored for us in 2024.
Up next was the only band on the tour I was not familiar with, that being Nanowar of Steel. Hailing from Italy, this was their first American tour ever. As the band hit the stage all dressed in colorful and exuberant costumes, I had a feeling we were in for something special and vastly unique. Before the music could even start co-lead singer Mr. Baffo turned around and spoke to the audience through his butt ala Ace Venture style. These guys were a comedy heavy metal band, and the audience went all in for whatever they had in store for us. Fellow co-lead singer Potowotominimak, dressed like an EDM Raver meets a BDSM dominatrix, would constantly be switching out costumes throughout the song. Dressing like an alien, as well as coming out in a giant owl-bear mascot suit at one point. Guitarist Mohammed Abdul looked like Aladdin in a Prince Ali outfit, while bassist Gattopanceri666 honestly looked like Joel McHale from Community during a Halloween episode. Drummer Uinona Raider looked as if he was teaching an 80s retro jazzercise class. Not only were we captivated by the outlandish costumes the band wore, but the songs themselves were all incredibly catchy. Songs like “Uranus,” “The Call of Cthulhu,” “Il cacciatore della notte,” “Pasadena 1994” which featured DragonForce’s guitar tech James Shotwell on guest guitar, “Disco Metal,” “Norwegian Reggaeton,” and ending with “Valhalleluja.” During the final song, members of the other three bands ran on stage with IKEA bags and desk furniture, helping throw out the furniture to the screaming fans who happily crowd surfed the furniture to the back of the venue. Hopefully Nanowar of Steel can come back to the United States soon, as more people need to experience this kind of show.
Up next is band that was originally introduced to me by my buddy Brandon, that being Sweden’s own Amaranthe. I was fortunate to see them for the first time in 2017 and was excited to see them again in 2020 on before those plans were cancelled. Finally, after six years they are back, and I couldn’t be more excited. Opening their set with “Fearless,” co-lead singer Elize Ryd stepped onto the stage with a jewel studded top and flowing black skirt. She was here to make her presence known even before the first lyrics left her mouth. As she did let her voice ring out, the beauty of it is irresistible and nothing but enchanting. Something unique that Amaranthe does is have three vocalist, the other two being specifically a clean singer, Nils Molin, and an unclean singer, Mikael Sehlin. All three vocalists get their own unique time to shine throughout every song with Elize providing the operatic-esque powerhouse vocals, Nils layering his cleans with Elize to elevate the texture of the song, and then Mikael coming in with the harsh screams that jus make the crowd throw themselves into a frenzy. Though the focus can maintain on the singers, the instrumental section of the band are not ones to fade into the background. Guitarist Olof Mörck knows how to write his guitar tracks to shine on their own, but hold back to balance the band with bassist Johan Andreassen and drummer Morten Løwe Sørensen. Amaranthe gave a solid 45 minute set with songs like “Viral,” “Digital World,” “Damnation Flame,” “Hunger,” “Stronger,” “PvP,” “Amaranthine,” “The Nexus,” “Archangel,” “That Song,” and ending with “Drop Dead Cynical.” As the last notes rang out, all I wish is that I don’t have to wait another six years before Amaranthe comes back.
As a the Wiltern’s curtain draped over the stage to hide the set change, the crowd anxiously awaited our headliners. Once the curtain was finally raised, the venue was hit with rays of lights as Daft Punk’s “TRON Legacy (End Titles)” played over the speakers, helping to ramp up the excitement of the fans. As the opening notes of “Revolution Deathsquad” could be heard, the band came running out to thunderous applause and screams. Dual guitarist Herman Li and Sam Totman fingers were already lighting up the necks of their guitars with the rapid fire sounds of squiddly-doo’s that their guitars make. Vocalist Marc Hudson has the ability to sing and let his voice flow at the speed of the guitars. His high vocal range just enhances the energy of DragonForce’s music. Drummer Gee Anzalone must have the calves and thighs of a body builder as his double bass kicks don’t take a moment off during any song. Now official member, bassist Alicia Vigil plays her parts with ease. Keeping up with the boys with no problem and looking effortless the entire time. Something unique that DragonForce does is they like to bring in guest musicians during songs at shows. This show, we had the opportunity to see YouTuber and guitarist Billy Wilkins helping on third guitarist and backing vocals. Though I was not familiar with him, his talents shined alongside the rest of the band as he played in tandem with Herman & Sam with ease. DragonForce played songs like “Cry Thunder,” “Heroes of our Time,” “Power of the Triforce,” “Soldiers of the Wasteland,” “The Last Dragonborn,” “Fury of the Storm,” “Doomsday Party,” “Valley of the Damned,” and “Highway to Oblivion.”
With his being the Los Angeles show, the band had more friends come out during the encore. For their cover of Taylor Swift’s “Wildest Dreams”, Alissa White-Gluz of Arch Enemy joined them on stage. While during the cover of Céline Dion’s “My Heart Will Go On,” Elize Ryd came back out to sing. The final surprise guest was another YouTube guitarist Cole Roland, who came out for the final song “Through the Fire and Flames.” DragonForce are renowned for their technical mastery and their musicianship specifically with their guitars. Seing Herman Li, Sam Totman, Alicia Vigil, Billy Wilkins, and Cole Roland standing side by side at the foot of the stage all just gracefully walking through the hardest song on the first Guitar Hero video game was mind blowing.
This night was a glorious one with four bands that all had their own unique style and presentation, but there was a coming feeling to all the music that helped keep the energy high and engaged. Edge of Paradise started the night with a space metal vibe. While Nanowar of Steel made us all laugh and enjoy ourselves. Amaranthe brought three vocalists that all stand on their own but are the best when layered together. DragonForce closed the night with a tour de force of musical guest stars that could not be matched. It was a night where musicality and showmanship all came together in one of the best tour packages of the year.
Every genre of music has their legendary bands, that created a sound that could not be put into a box of pre-existing music. The Beatles gave us the British Invasion that brought a new style of rock n roll to the masses. Black Sabbath are the god fathers of metal and laid the foundation for all future metal to come after them. Eddie Van Halen with Van Halen basically reinvented how the guitar could be played. One style of music that is not a household name but is held to a high degree of love is that of Djent. Mixing palm muting of the strings and syncopated playing, another new style of music was invented. The creator of Djent has been Fredrik Thordendal of the Swedish extreme metal band Meshuggah. I finally had my chance to see this innovator for myself on the first stop of their North American tour down in San Diego. Bringing with them two other power houses in the metal community: In Flames & Whitechapel. As the line rounded multiple blocks with fans ready to go crazy, I waited to see what Meshuggah had in store live.
Even before the opening band could hit the stage, SOMA was already packing in the fans who were making sure they showed up for every band this night. Whitechapel knew how to get the show started with their song “Let Me Burn.” Vocalist Phil Bozeman is notorious for his low guttural vocals that have helped define the band. As Phil paces the stage glaring into the crowd with visceral intensity, the audience fed it right back to him with how crazy they screamed. One of the most unique aspects of Whitechapel to me is that they unconventionally use three guitarist. That of Ben Savage on lead guitar, Alex Wade on rhythm guitar, and Zach Householder on third guitar. The three men know how to layer their playing to help each other shine, while creating some of the crunchiest melodies. Drummer Brandon Zackey manipulates the beat of the crowd by blasting them with lightning fast double bass kicks. Only elevated by bassist Gabe Crisp playing in perfect sync. The crowd roared in tandem with Whitechapel for songs like “Forgiveness is Weakness,” “Brimstone,” “I Will Find You,” “A Bloodsoaked Symphony,” and ending with “The Saw is the Law.” There was no way the show could have started with any less energy than what Whitechapel brought. The crowd was fired up, and ready for more.
Up next is a band that I have most recently gotten into, In Flames. Another band tonight that hails from Sweden, showing that the Swedish know how to create ever lasting metal music. Vocalist Anders Fridén has the perfect duality in his voice to change from clean melodic singing to harsh guttural screams. Many modern metal vocalists have named him as a big inspiration for how they scream, and here I am getting to take in this pioneers’ abilities. Lead guitarist Björn Gelotte knows how to make a Gibson Les Paul shred. Sometimes it takes a classic guitar to really exemplify that a master of their craft can pull out any kind of music on their axe of choice. The Legendary Chris Broderick has played with many iconic bands, but seeing him play with In Flames, he fits right in. Playing off Björn’s leads and making them float through the venue with grace and melody. All the while drummer Tanner Wayne is being a technician behind the kit, maneuvering his playing to create groove, vibe, and blast beats that let the crowd go crazy. Throughout In Flames set Anders kept calling for the crowd to go even crazier, as he wanted to see the start of this tour kick off with a bang. During “I Am Above” I feel the crowd finally gave him what he wanted, as one after another crowd surfers came hurling over the barricade. Their set also included bangers like “Foregone Pt. 1,” “Pinball Map,” “Darker Times,” “Everything’s Gone,” “All For Me,” “Behind Space,” “Cloud Connected,” “State of Slow Decay,” “The Mirror’s Truth,” and ending with “Take This Life.” In Flames kept the fire burning that was brewing in the fans of SOMA who only wanted to let that fire rage even more.
It was finally time for the djent creators and the extreme metal pioneers known as Meshuggah. I’ve heard from many a friend that a Meshuggah show can have some of the most chaotic and heavy hitting fans of the metal scene. It wasn’t just the band I was excited to see, but the fans had a lot to live up to. Neither disappointed one bit. Opening the night with “Broken Cog,” the band stepped on stage cloaked in darkness. As the song kicked into gear, these panel boxes lit up behind each member casting a gloomy silhouette of the band. Vocalist Jens Kidman did not fail to excite the crowd with his guttural voice, almost sounding like he’s just straight screaming at us. Dual guitarists Fredrik Thordendal and Mårten Hagström show off what a djent band is supposed to sound like. Even though the style consists of a lot of palm muting of the strings, both men can pull out tone and variety to their playing. Bassist Dick Lövgren crafts more groove infused base lines. While drummer Tomas Haake is waltzing behind the kit with the way his feet handle the double bass. As a first since 2019, the band played their iconic hit “Bleed” which starts by Tomas playing a herta pattern on the kick. This pattern creates a gallop type sound effect that forces the fans in the audience to get the mosh moving crazier than it has been all night. We got a few other notable first being the inaugural show of the tour, with the band playing “Perpetual Black Second” for the first time since 2017, “Electric Red” for the first time since 2011, “and “Humiliative” for the first time since 2009. The other songs included “Rational Gaze,” “Born in Dissonance,” “Ligature Marks,” “The Abysmal Eye,” “In Death – Is Life,” “In Death – Is Death,” and ending with “Demiurge.”
The fire inside the crowd started by Whitechapel, was only enhanced by In Flames, and by the time Meshuggah finished their set the crowd was ready to burn the place to the ground. Even with this being a November show, and the air blowing with a cool crisp breeze, not a single person left the venue dry. The ferocity, the tenacity, and the energy that the crowd brought to SOMA caused everyone to drip in sweat for these icons of metal. I truly see why so many people hold Meshuggah up to such a high standard of quality. They create and craft such a unique presence for themselves that truly must be experienced live to take in the true power of their music.