My second show in Sacramento was in some ways a throwback to my younger years in Des Moines; I used to walk down to Hairy Mary’s by myself to see shows because my sorry ass didn’t have a car and to make matters worse I didn’t know anyone else who gave a shit about the underground. Not being much of a grindcore fan, my wife decided to sit out Sunday’s matinee at the Midtown Barfly, and as a result I found myself flying solo once again, which is always a delightfully awkward experience given that I’m not exactly the most outgoing person out there. Also, many of those shows I hoofed it to back in the day were heavy on grindcore bands such as Black Market Fetus, Strong Intention, Catheter, Entrails Massacre and Phobia, to name but a few, so I was excited to experience a show in a similar vein in my new city. A complete and utter lack of social skills doesn’t matter much when you’re being pummeled at a million miles an hour by some of the most vicious and unrelenting music out there.
When it comes to metal shows in Des Moines, it’s either feast or famine. The month of April is proving to be quite the feast, boasting tour stops from genre luminaries such as Broken Hope, The Lurking Corpses and Embryonic Devourment. But the show I’ve probably been looking forward to the most was a three-headed beast; a headlining set from legendary German thrashers Destruction, supported by Brazilian brutal death metal trio Krisiun and SoCal up-and-comers Exmortus.
Over the past few years, I’ve had the opportunity to finally check a few bands off my old school death metal bucket list. The likes of Cannibal Corpse, Morbid Angel and Grave (I sadly missed Deicide and Suffocation when they were here :( ) have violated the asshole of the Midwest with their unholy presence, and it’s always gratifying to finally experience these bands in the live setting after having coveted their studio albums for all this time. On a cold, rainy Thursday night in Des Moines, I was happy to add Chicago’s original overlords of brutal death metal Broken Hope to that list, and goddamn if they didn’t deliver the goods and then some.
I’ll be the first to admit, I know Jack and shit (and Jack left town) about death industrial, power electronics and noise (aside from the most obvious/popular noise artists such as Merzbow, Prurient and Wolf Eyes), so Sewer Goddess’ Mutilation Process was something of a revelation for me when I received it in the mail from the fine folks at Graceless Recordings. This twenty-three minute live recording is seriously filthy and fucked up, uglier and more unsettling than approximately 99.9% of the metal albums I’ve heard in the past year or so. Evidently there’s a whole wealth of nastiness and depravity out there waiting for me to explore, but for now let’s focus on this, my first foray into a world of shit.
At this point, my status as a Glenn Danzig maniac is far beyond well-documented. Between the Misfits, Samhain and Danzig, I’ve devoted more digital ink to the man’s music than to any other artist I’ve covered here at THKD. The last time I took stock of my music collection, the Evil Elvis dominated it with over twenty releases, not to mention all the t-shirts and other random paraphernalia I own. My one and only tattoo is based loosely on “Thirteen,” the song Danzig wrote for Johnny Cash (my favorite metal singer meets my favorite non metal singer). Cosmo Lee, the founder of Invisible Oranges, even based a post around my admission that I celebrate Danzig’s entire catalogue in my review of 2010’s excellent Deth Red Sabaoth.
Jonas Renkse is a difficult man to photograph. For the entirety of Katatonia’s set Wednesday night at Wooly’s, the singer kept his face deliberately obscured behind a mass of hair; as if not wanting to face the crowd. But his jovial between-song demeanor and powerful performance spoke otherwise; his exquisite vocals the undeniable focal point of the Swedish quartet’s excellent hour long set opening for prog metal grand poobahs Opeth. In some ways, Herr Renkse’s locks could be a metaphor for Katatonia’s music; their underlying metal-ness often obscured by heaps of beautifully dark, multi-textured melancholia.
To say that I was highly anticipating seeing Ghost in the flesh would probably be the understatement of the year. Their 2010 debut full length Opus Eponymous has been in near constant rotation since its release, and this year’s Infestissumam already has a place in my year-end top five all but locked up. There is something about their combination of Luciferian lyrics, infectious yet hard-rocking pop hooks and outlandish visuals that’s incredibly appealing to this old fan of KISS, Alice Cooper and King Diamond, artists with which Ghost clearly shares a lineage.