I am not a metal fan. Let it be known. If anyone really gives a shit. So how is it that last night I ended up at Durham's premiere metal band, Tooth's Animality CD release party at Duke Coffeehouse? I was influenced by the media. That's how.
Ross Grady amped up this CD in his Triangle Rock ibiblio post. Sometimes I agree with Ross Grady. Then the INDY ran a full-page article that was highly complimentary. Both described an eclectic metal and decreed this CD a local success, and worthy of a listen. So I went.
Before I went I had several expectations:
1. I was not going to like it.
2. I would not understand any lyrics.
3. It would be so unbearably loud my ears would bleed and my head would hurt.
4. I might get injured by a flying bottle or a rampant thrashing mosher.
5. There would be no women at this show.
How am I going to say anything about a metal show. I don't know how to describe metal music. There are so many distinctions to metal: heavy metal, thrash, death, doom, hardcore, nu-metal, glam. Goth, speed, Viking (what the f* is that??) Grindcore goregrind, gorecore. What do I know about this.
This is the second recent CD release I have attended at the Duke Coffeehouse since this blog was created (remember Hammer No More the Fingers) and one of many Duke CH local lineups I've been to in the past few months. I have to say, I am learning to really like this venue. It's a good sized room, it takes on the energy and persona (and often smells) of the bands playing, it's unassuming in that way. But best, the local bands are packing the place. Last night, I'd estimate 125-150 people. Enough to heat the room without claustrophobia, enough to allow for movement without pain. Great crowd, more than I expected. Convinced me of the metal market in Durham.
The lineup was: The Wigg Report (last minute addition, they were supposed to play guerrilla sets outside in between bands, but ended up filling in for cancelled band), The Chest Pains, Gun Metal Black, and Tooth.
Completely missed Wigg Report. This is the least metal of the bands, if they have any metal in them, it's aluminum, soft, and pliable. Arrived for 1/2 of Chest Pains punk set, with some almost bluesy 70's influenced guitar riffs. Then Gun Metal Black's rapid fire thrash metal set. Both high energy, left people sweating. Good performers. Fast fingered guitar solos, Angry bass. Palpitation-inducing triple quadruple kick drum arrhythmias.
It's the vocals. That's what I can't deal with when it comes to metal. The screaming, the guttural, man-possessed monster voice-inator. Not that I need to know the lyrics. I can't understand the lyrics of MOST of the bands I hear for the first time. But I cannot distinguish words here. I hear sounds. And noises. And it's not really singing. Because I am missing the melody. This is my problem here. So I tried to ignore the vocals, nearly impossible, but just listen to what's behind the vocals.
Here Comes Tooth. This is a bunch of young bearded guys, apparently all have known each other growing up for a while. Frontman is long haired, bearded, Dry Heathens Tshirt on. I think I've bought beer from him before. He acknowledges his parents who are there. And then dedicates the show to Satan.
The music is powerful, fast, with wild rearing gallops, like a Stallion one of their songs is titled. They all got their rock faces on, angry, wild-eyed, heads nodding with each kick drum. The bassist is crazed, looks like one of those New Zealand Maori dancers, eyes bulging, tongue out. Bass is held straight up, out in front of him, firing shots into the air. Guitarist are blazing through the frenzied fingered solos, together separate. Frontman has his hair spinning, propeller, in his face growling through his Cousin It do. And then it happened. I understood a lyric. It was something about an oyster that opened up.
That's what it was like, something opened up. It all sort of fit together. It was a pearl in an oyster, finding my own sense of joy in metal. Maybe it was the undeniable good time these guys were having up there. I just let it take over, I nodded my head to the insanely fast kick drum (sore neck today to prove it). I heard the melody through whacked up guitar distortion. I stayed the hell away from the moshers, who were getting more frenzied as the set went on. At some point, the shirtless guitarist mouth-sprayed beer on them, adding stench and wet to the sweaty chaos.
The amp stacks were near as tall as the ceiling, yet the volume was tasteful. It was not so loud that earplugs were required (although still recommended). My ears did not bleed. And there were women there. Lots. Mosh chicks too. I left with my disk, happy I went, new appreciation for metal. Not a convert, just appreciative. And again reminded of how supportive the local musicians are of each other, noticing many musicians from different genres there. Another win for the Durham scene.
bzzzzz
Showing posts with label Durham music. Show all posts
Showing posts with label Durham music. Show all posts
Saturday, December 8, 2007
Sunday, November 11, 2007
Still reeling
To be cliche, I got Hammered last night. I had the distinct pleasure of attending Hammer No More the Fingers CD release "Orgy" last night. It was a great night of music, energy, and I definitely got my $5 worth.
The show was at the Duke Coffeehouse, a medium sized venue, box-shaped with random furniture strewn about. There was food, pizza, beer galore, BBQ. It was celebratory upon entrance. There were more than a hundred people, by my rough estimation for the first band, who went on at close to 10. And that crowd easily doubled as the night wore on. There was an outdoor firepit set up, and this hosted a regular crowd through the night. This was the biggest crowd I've seen at the Duke Coffeehouse for a local show, and the most appealing lineup from beginning to end that I've seen there, even better than what I saw at Troika.
The lineup was supposed to start with Dead to Society. This is a punk band, headed up by "Ill Bill" who really was ill, apparently was sick, so the band canceled. I still want to hear them sometime.
The night kicked off with Future Kings of Nowhere. I've seen these guys before, and tonight was one of the best shows I've seen from them. The lineup was smaller, fewer band members than I've seen, and Shane, the band's frontman was on fire. He was on the tip of his toes, shaking and quaking, whining passionately, and pounding frenetically on his blue acoustic. The drummer was right there with him. A new bassist looked non-plussed, and either nervous or put-out, but hit the notes. The usual horn suspects, a composite of Midtown Dickens, and Eberhardt (2 Durham mainstays) joined and belted out off-note brass that adds to the off-kilter fun and energy of this band.
Next, Red Collar. This is NC's most high energy performing bands. They play melodic punk, banging on guitars, jumping all over the stage, sweating, and audience singing in unison their cynical anthems of hard work and survival. But something was not quite right. At least that is what Jason Kutchma kept telling us during the show, but I wasn't sure what he was talking about. It sounded good to me, and the rest of the crowd didn't seem to notice anything off. And then both guitarists had their instruments on the ground, Mike Jackson being passed overhead through the crowd. Despite no guitars, the audience was still riveted, singing and not a hiccup in the energy. These guys really have it.
I Was totally Destroying It followed. They are fairly new around here, busting onto the scene with a new CD and their own CD release party only a month or so ago. Despite having one of the longest, most difficult to remember or say band names ever, they play a great pop song. The chemistry is there, and rumor has it the lead guitarist/singer and most-talented keyboard/vocal/guitarist Rachel have a thing going on... love a little band love. The visual focus for this band flits between the sweet young Rachel, and the wild, open mouthed arms flinging and flying drumming of James Hepler, arguably one of the most enthusiastic drummers in town. They kept the audience high until the highlight of the night finally hit the stage.
Hammer No More the Fingers, oh, another long-ass silly name. But this gets shortened in many ways, to HNMTF, Hammer, Hammer No More, etc. These guys have been playing together for almost half their lives, and it shows. The guitar playing of Joe Hall is impeccable, his oddly, but so right chord progressions are never covered up by over-distorted pedal effects, just clean beautiful guitar notes. His huge hands look like spiders climbing up and down the neck, making it look easy. The tone is full and complements the melodic bass lines perfectly. Duncan's bass lines are both rhythmic, and catchy melodically, weaving together addictive fun pop songs with a rough crunchy edge. And this is all held together with the confident strong even drumming of Jeff Stickley, smiling wide the whole time. These guys create a perfect musical balance. Their performance is infectious, with the entire crowd singing along, jumping up and down. I felt the floor moving below me, and momentary concern that the Duke Coffeehouse might actually collapse. Joe contorts and bends so far backwards at times, it looks like he might hit the back of his head on the stage. They threw blown up rubber gloves at the audience, and these hands and fingers bounced overhead through the songs. After a rousing set, the boys of Hammer left the stage, and moved mid-floor with the audience for an acoustic version of "Concrete", with the entire audience joining in for the chorus.
Hats of to Hammer, they have created a giant momentum, and I expect to see them launched nationally over the next year. Don't miss their upcoming shows-no doubt they will be playing these smaller, more intimate venues for long. Catch them while you can.
Bz
The show was at the Duke Coffeehouse, a medium sized venue, box-shaped with random furniture strewn about. There was food, pizza, beer galore, BBQ. It was celebratory upon entrance. There were more than a hundred people, by my rough estimation for the first band, who went on at close to 10. And that crowd easily doubled as the night wore on. There was an outdoor firepit set up, and this hosted a regular crowd through the night. This was the biggest crowd I've seen at the Duke Coffeehouse for a local show, and the most appealing lineup from beginning to end that I've seen there, even better than what I saw at Troika.
The lineup was supposed to start with Dead to Society. This is a punk band, headed up by "Ill Bill" who really was ill, apparently was sick, so the band canceled. I still want to hear them sometime.
The night kicked off with Future Kings of Nowhere. I've seen these guys before, and tonight was one of the best shows I've seen from them. The lineup was smaller, fewer band members than I've seen, and Shane, the band's frontman was on fire. He was on the tip of his toes, shaking and quaking, whining passionately, and pounding frenetically on his blue acoustic. The drummer was right there with him. A new bassist looked non-plussed, and either nervous or put-out, but hit the notes. The usual horn suspects, a composite of Midtown Dickens, and Eberhardt (2 Durham mainstays) joined and belted out off-note brass that adds to the off-kilter fun and energy of this band.
Next, Red Collar. This is NC's most high energy performing bands. They play melodic punk, banging on guitars, jumping all over the stage, sweating, and audience singing in unison their cynical anthems of hard work and survival. But something was not quite right. At least that is what Jason Kutchma kept telling us during the show, but I wasn't sure what he was talking about. It sounded good to me, and the rest of the crowd didn't seem to notice anything off. And then both guitarists had their instruments on the ground, Mike Jackson being passed overhead through the crowd. Despite no guitars, the audience was still riveted, singing and not a hiccup in the energy. These guys really have it.
I Was totally Destroying It followed. They are fairly new around here, busting onto the scene with a new CD and their own CD release party only a month or so ago. Despite having one of the longest, most difficult to remember or say band names ever, they play a great pop song. The chemistry is there, and rumor has it the lead guitarist/singer and most-talented keyboard/vocal/guitarist Rachel have a thing going on... love a little band love. The visual focus for this band flits between the sweet young Rachel, and the wild, open mouthed arms flinging and flying drumming of James Hepler, arguably one of the most enthusiastic drummers in town. They kept the audience high until the highlight of the night finally hit the stage.
Hammer No More the Fingers, oh, another long-ass silly name. But this gets shortened in many ways, to HNMTF, Hammer, Hammer No More, etc. These guys have been playing together for almost half their lives, and it shows. The guitar playing of Joe Hall is impeccable, his oddly, but so right chord progressions are never covered up by over-distorted pedal effects, just clean beautiful guitar notes. His huge hands look like spiders climbing up and down the neck, making it look easy. The tone is full and complements the melodic bass lines perfectly. Duncan's bass lines are both rhythmic, and catchy melodically, weaving together addictive fun pop songs with a rough crunchy edge. And this is all held together with the confident strong even drumming of Jeff Stickley, smiling wide the whole time. These guys create a perfect musical balance. Their performance is infectious, with the entire crowd singing along, jumping up and down. I felt the floor moving below me, and momentary concern that the Duke Coffeehouse might actually collapse. Joe contorts and bends so far backwards at times, it looks like he might hit the back of his head on the stage. They threw blown up rubber gloves at the audience, and these hands and fingers bounced overhead through the songs. After a rousing set, the boys of Hammer left the stage, and moved mid-floor with the audience for an acoustic version of "Concrete", with the entire audience joining in for the chorus.
Hats of to Hammer, they have created a giant momentum, and I expect to see them launched nationally over the next year. Don't miss their upcoming shows-no doubt they will be playing these smaller, more intimate venues for long. Catch them while you can.
Bz
Tuesday, November 6, 2007
Troika- Before the Music
Last year the Troika Music Festival was amazing. One great band after another. Big touring bands, the best of local bands. Hopping burgeoning venues, Jo and Jo's, 305 South alive, Duke Coffeehouse with a new breath. It's what I wanted to see and hear again this year.
First the Pin Projekt. Huh? Pin projekt? whazzat? I actually know noone who went... anyone got a report on this?
The buzz surrounding this festival this year was absent. An email went out that it was time to sign up, and bands had to do it through ReverbNation. Cool! It was time for Troika again. And then nothing. I had thought about helping out, but never heard the call for volunteers. My email bounced. I didn't hear or see another word until about 2 weeks prior, and the schedule was posted on their website.
And then the griping, very quietly, started. I kept hearing whispers of "no organization" and "organizers losing it" and "I'll be surprised if it even happens". I didn't see any promo, and couldn't find information about how I'd get a ticket until the Indy published a great layout with lineup and some streamed music online. Why the absence of promotion? I asked my friends if they were going to Troika. "When's that?" they'd ask, and they are the people who're supposed to be in the know.
So I started to talk to my band friends. Seems communication from the Troika folks was a bit lacking. Bands were not asked if they could play their given slots or even confirmed at all for that matter, venues were not confirmed either. SOme venues owners found out they were hosting Troika when the schedule was listed in the Indy. Emails weren't returned, questions left unanswered. Several bands dropped out. Hmm...
What's the story here? Too much festival for not enough volunteers? Another friend said they tried to volunteer, with more than one email sent and no email response. Other friends of friends who helped out last year steered a mile wide, last year left a bad taste for some reason. I never got the whole story on that- left me curious.
And the schedule. I looked at the schedule for Bull City Headquarters on Saturday. Impossible I thought. 17 bands, one band every half hour until midnight. In the very small, scantily equipped BCHQ... No beer, unreliable toilet, no food, big boxy sound, poor temperature control (toohot, toocold). Why this venue for the main day? I wanted to go just to observe the logistics of what was potentially a supreme nightmare. But the bands listed were fantastic. If I got to hear 3 of these bands, it would be a stellar music day.
look at this clusterf*. I can't even read it.
Bull City Headquarters723 N. Mangum Street, Durham, NCAll Ages — Alcohol-Free Space$10.00 • The Everybodyfields 11:00 pm • Bodies of Water 10:00 pm • Phosphorescent 9:00 pm • Ben Davis and The Jetts 8:30 pm • Bellafea 8:00 pm • Ex-Members 7:30 pm • Richard Bacchus and The Luckiest Girls 7:00 pm • New Dawn Fades 6:30 pm • On the Take 6:00 pm • Opening Flower Happy Bird 5:30 pm • Midtown Dickens 5:00 pm • (BREAK) 4:00 - 5:00 pm • Eberhardt 3:30 pm • Sweater Weather 3:00 pm • Fan Tan 2:30 pm • Simple 2:00 pm • Betty and The Boys 1:30 pm • The Drowsies 1:00 pm
The problem with the venues is they were so spread out. I remember maybe 3 years ago, when it was still the Durham Music Festival, hundreds of people were running (on foot) back and forth between venues, catching 15 minutes of each band, between the Armory, Jo and Jo's, Ringside, that club that I can't remember the name of... There were so many people out, and everyone so thrilled to hear all the music. Downtown was alive, a different place. But this year, you have to drive between venues (or bike), except with James Joyce and Alivia's.
Now let me bitch about the cost. The pass was $20, ok, I'd do that. But what's the story with this show 2 weeks later, for an additional $15... I think of a festival as a weekend affair. 2 weeks away is almost disconnected. I don'geddit. If you didn't want to buy a pass, each venue was $8-10! That gets pricey if you've just got a few bands you want to hear. I'd think if you're trying to appeal to music loving folks like me, to bring us in, you'd bring the cost down. Maybe a one-day pass, or punch card, or something like that. And where does all that money go anyways?
I wonder how the attendance turned out after all 3 days. I made it to all 3 days, and I'll write about the bands I heard next. Let's just say thank god it's about the music, and not about the logistics.
bzzzzzzzzzz
First the Pin Projekt. Huh? Pin projekt? whazzat? I actually know noone who went... anyone got a report on this?
The buzz surrounding this festival this year was absent. An email went out that it was time to sign up, and bands had to do it through ReverbNation. Cool! It was time for Troika again. And then nothing. I had thought about helping out, but never heard the call for volunteers. My email bounced. I didn't hear or see another word until about 2 weeks prior, and the schedule was posted on their website.
And then the griping, very quietly, started. I kept hearing whispers of "no organization" and "organizers losing it" and "I'll be surprised if it even happens". I didn't see any promo, and couldn't find information about how I'd get a ticket until the Indy published a great layout with lineup and some streamed music online. Why the absence of promotion? I asked my friends if they were going to Troika. "When's that?" they'd ask, and they are the people who're supposed to be in the know.
So I started to talk to my band friends. Seems communication from the Troika folks was a bit lacking. Bands were not asked if they could play their given slots or even confirmed at all for that matter, venues were not confirmed either. SOme venues owners found out they were hosting Troika when the schedule was listed in the Indy. Emails weren't returned, questions left unanswered. Several bands dropped out. Hmm...
What's the story here? Too much festival for not enough volunteers? Another friend said they tried to volunteer, with more than one email sent and no email response. Other friends of friends who helped out last year steered a mile wide, last year left a bad taste for some reason. I never got the whole story on that- left me curious.
And the schedule. I looked at the schedule for Bull City Headquarters on Saturday. Impossible I thought. 17 bands, one band every half hour until midnight. In the very small, scantily equipped BCHQ... No beer, unreliable toilet, no food, big boxy sound, poor temperature control (toohot, toocold). Why this venue for the main day? I wanted to go just to observe the logistics of what was potentially a supreme nightmare. But the bands listed were fantastic. If I got to hear 3 of these bands, it would be a stellar music day.
look at this clusterf*. I can't even read it.
Bull City Headquarters723 N. Mangum Street, Durham, NCAll Ages — Alcohol-Free Space$10.00 • The Everybodyfields 11:00 pm • Bodies of Water 10:00 pm • Phosphorescent 9:00 pm • Ben Davis and The Jetts 8:30 pm • Bellafea 8:00 pm • Ex-Members 7:30 pm • Richard Bacchus and The Luckiest Girls 7:00 pm • New Dawn Fades 6:30 pm • On the Take 6:00 pm • Opening Flower Happy Bird 5:30 pm • Midtown Dickens 5:00 pm • (BREAK) 4:00 - 5:00 pm • Eberhardt 3:30 pm • Sweater Weather 3:00 pm • Fan Tan 2:30 pm • Simple 2:00 pm • Betty and The Boys 1:30 pm • The Drowsies 1:00 pm
The problem with the venues is they were so spread out. I remember maybe 3 years ago, when it was still the Durham Music Festival, hundreds of people were running (on foot) back and forth between venues, catching 15 minutes of each band, between the Armory, Jo and Jo's, Ringside, that club that I can't remember the name of... There were so many people out, and everyone so thrilled to hear all the music. Downtown was alive, a different place. But this year, you have to drive between venues (or bike), except with James Joyce and Alivia's.
Now let me bitch about the cost. The pass was $20, ok, I'd do that. But what's the story with this show 2 weeks later, for an additional $15... I think of a festival as a weekend affair. 2 weeks away is almost disconnected. I don'geddit. If you didn't want to buy a pass, each venue was $8-10! That gets pricey if you've just got a few bands you want to hear. I'd think if you're trying to appeal to music loving folks like me, to bring us in, you'd bring the cost down. Maybe a one-day pass, or punch card, or something like that. And where does all that money go anyways?
I wonder how the attendance turned out after all 3 days. I made it to all 3 days, and I'll write about the bands I heard next. Let's just say thank god it's about the music, and not about the logistics.
bzzzzzzzzzz
Subscribe to:
Posts (Atom)
