As a heavy metal fan, I’ve seen dozens of amazing shows. But I can probably count on one hand the number of shows that fully immersed me, the ones that made real life and all the horrific mundanity that goes with it melt away completely, the ones that made me feel like I was alone in the universe with nothing but the band and the music. Dispirit’s headlining set at the Starlite Lounge last Sunday night was one of them.
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 my wife and I first started talking seriously about moving to Sacramento, one of the main draws for me was the opportunity to take in a lot of live music. Sure, metal shows do happen back home in Des Moines, but they are few and far between, seemingly getting more and more scarce by the year, so in this respect moving to the West Coast was a total no-brainer. I started looking for shows well in advance of coming out here, and the one that immediately caught my eye was the sole Northern California date on Finnish black metallers Sargeist’s current US tour, w/ support coming from Killgasm, Pandiscordian Necrogenesis and Valdur.
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.
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.