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Reviews

REVIEW: Bobaflex Rocks Oddbody’s

December 15, 2014 By Mike Ritchie

They avoided or skipped the chaos of Black Friday in Dayton this year but West Virginia’s hardest working band Bobaflex brought the diesel fumed rock as only they could as the black leathered bad men hit the Dayton stage once again on Saturday December 5th.

 Desalitt (photo by Mike Ritchie)

Desalitt (photo by Mike Ritchie)

Locals Desalitt brought a unique blend of grunge, punk and metal, and the long haired/dreadlocked blokes from across the sea October Rage brought their version of hard rock bordering on metal to the heartland.

Created in 2008 in Xenia, Desalitt plays rock with a grungy metal twist. They played a few originals with heavy covers mixed in. The dual vocals of the leather and spiked clad, green haired, mic fisted in your face Shug played a nice opposite to the ‘calm, long sleeved but not flannel, and collected’ guitar playing “more serious” Greg Crawford. A ten song set of originals and covers included a mix and match of punk, rock and grunge as the “Bodies” hit the floor. They had a little bit of rage to get out before the Aussie’s had their turn with “Bulls on Parade.” It was time to Take a Look in the Mirror with Korn “Right Now.”  Original “Broken Strings” carried a melancholy atmospheric mood in the guitars with a mix of Scott Stapp and Scott Weiland vocals. “Insane” had a swampy guitar attitude digging deep into the Sabbath blues. “Want Me to Be” had Eddie Vedder invading on vocals with Pearl Jam’s angst riddled creed behind him.

Dubbed one of the “hardest working bands in rock” on their seven month USA Outrage Tour racking up over 70,000 miles and 120 shows traveling across the country spreading their October Rage to America, the brother’s and co. have brought their metal tinged Aussie rock to Yankee ears.

Formed by brothers Nick (vocals, guitar) and William (bass) Roberts in late 2008, they’re from the Central Coast of New South Wales, Australia and quickly gained notoriety supporting Bon Jovi on their Circle Tour at sold out shows in Sydney.

With their 2011 debut Outrage and this year’s Fallout, Dust and Guns release under their belts they’ve played with Steel Panther, Saliva, Sevendust among others.

Bobaflex (photo by Mike Ritchie)

Bobaflex (photo by Mike Ritchie)

The rage began with “Wayside” with Nick and William’s hair and locks flying around the stage like Rob Zombie whiplashing the post at a roadhouse back porch witch burning. “Valkyrie” hits a little harder with some dirt under the wheel riding by with rebel thunder. Beware of the “White Walkers,” you can feel them “Coming in the Air Tonight.” They add in a little acoustic charm with the rock on “Silver Line” floating close to Skillet territory and ‘dangerously’ close to Nickelback. They turn the rock back up on “Set You Free” finishing with the slow bluesy sing along “Reign of Fire”, adding a bit of Skynyrd to the mid-section jam, prompting a lighter tribute, once thought extinct in the era of the cell phone glow.

With hell in their hearts the men in leather and black started with “Low Life.” It was George Thorogood on steroids as they cruised down the “Chemical Valley” screaming loud and proud before crashing and burning with style with the help of some sweet liquid sin. Charlatan’s deadly venom made its first appearance with the loving neck caress of “Strangle You.” The camera does strange things to the “Pretty Little Things” next door. Sweet and innocent turned addicted media queen. From all of us to you, with true sincerity, “I’m Glad you’re Dead.” Can’t you hear me laughing as I dance on your grave? Break out the bubbly.

The life of the trailer park says come back to me but the pleasures and excess of touring say never. It’s so hard to resist the seductive sharp kiss of the “Vampire.” She’s a blood boiler, life sucker. Exorcise her demons with the back of your hand, “Bad Man.” Simon and Garfunkel along with Depeche Mode enjoy “The Sound of Silence.” Bringing a bit of the 60’s hippie folk vibe rocked up with some guitar rev.

They’re losing their minds on motor fuel, decibels and live octane doing it on stage their way. Don’t fall in love and get hurt, they just want a meaningful one night romance, enough time for a “Rogue” dance. They brought the hands up with the ultimate West Virginian rebel rouser anthem. Members of Desalitt and October Rage came out to jam the way any road weathered rock star wants to go out. Die with your boots on so they’ll “Bury Me with My Guns On.” Hey!  Sending the crowd home happy, they encored with an attitude on “Better than Me.”

www.theofficialbobaflex.com

www.oddbodys.com

 

Filed Under: Dayton Music Tagged With: Dayton Music, Oddbody's, Reviews

REVIEW: Motley Crue Say Farewell To Cincinnati

August 28, 2014 By Mike Ritchie

Photo by Dave Gabbard

Photo by Dave Gabbard

All bad things must come to an end so they say. Since 1981 we’ve gotten the good, the bad and the ugly from the Sunset Strip bad boys. Drugs, booze, sex, countless nights of untold, unseen debauchery and decadence. They’ve never been shy about pushing the envelope, before setting it on fire. They’ve sold over 80 million records and have over 2500 different branded items sold in 30 countries. For all the headlines, documentaries and tales of legend and lore, it’s a miracle they’re all still alive and healthy let alone finishing their three decade plus career with a ‘final goodbye tour’. Yes, many bands have done retirement tours only to come back (in one variation or another) a few years later to give fan’s more. However, Vince, Tommy, Nikki and Mick have made good on their word signing a legally binding Cessation of Touring Agreement stating after their last show (Mick’s mentioned the idea of having their final show at or on top of The Whisky on Sunset) they will never tour again as Motley Crue with each pursuing their own endeavors afterwards.

The show itself; was over 20 songs of classics, favorites and obscure tunes from Too Fast For Love-Saints of Los Angeles, excluding possibly Generation Swine, New Tattoo and the self-titled disk. This is, the Crue giving each city one final chance to Shout at the Devil. Presented by Dodge and produced by Live Nation the 72 date tour covers the country with the band playing a fire breathing, scantily clad show at each stop till the end of the year, going overseas in 2015. Though it started off a bit rocky in Grand Rapids a few nights earlier with technical glitches and issues with Tommy’s arena wide Cruesifly kit malfunctioning and the setup being too big for some venues to hold.  You’ll still get Sixx’s bass-neck fire starter, the always present hot vixens and a solo only Mick Mars can do.

Alice Cooper (photo by Dave Gabbard)

Alice Cooper (photo by Dave Gabbard)

Touring with the original pioneer and godfather of shock rock Alice Cooper, it seems that the creator/teacher is helping say goodbye to the students and having started in the late 60’s may have ‘continuing’ bragging rights.

New York born/LA transplants The Raskins opened the show with brothers Logan and Roger throwing down their own brand of rock n roll, trying to win over the early crowd.

Opening with Hello Hooray with the huge, hypnotic, menacing gaze of Alice starring at the crowd, old black eyes still said No More Mr. Nice Guy. Quite possibly the greatest teenaged angst and rebellion anthem ever made, or at least one of the first. We’re all eighteen again and we like it. Alice pulled out the Cooper confetti cash and spread the mean green. We went from cash to Trash and tasted the bitter sweet Poison. Diamonds and pearls are a girl’s best friend, even dirty ones.

The demented ringleader emerged top hatted and snake bit. Alice haunted your nightmares way before Freddy was conceived.  The blood caked mad scientist brought out the high voltage to feed his larger than life creation. Gas masked and ready, lightning struck and his Frankenstein was alive!

A few decades before Silent Hill, Alice dressed in straight-jackets assisted and tormented by demonic sexy nurses. Good ole Dwight. He loves the guillotine as much as the dead and he’s a Killer showman.  Alice, sweet Alice, the principal every student wished they had, Schools Out…forever! He said goodbye, but unlike Motley, we will see him again.

The number of times The Sound of Music and Motley Crue were spoken in the same sentence is (probably) nary a one but the boys introduce the show with a sly, sarcastic So Long, farewell tear down the eye. If all bad things Motley are coming to an end then on Sunday July 6th it was time to kick Cincinnati’s Red, White and Crue ass.

No ride through Tommyland for Riverbend that night but it was no less the spectacle accustomed to by the Crue, even if it was scaled down a bit from the carnival and The Tour’s stage.

The biggest, baddest Mother Fucker’s of the year from Los Angeles started the show. Doesn’t take long to take a ride on the Wild Side, bathed in downtown beckoning crimson and assorted lights, the first of the night’s beastly beauties seduce on stage. The Primal Scream sent flames shooting in all directions. Nikki proudly announced it’s been 33 years, starting on Sunset Strip with four brothers and the rock n roll family. The Same Old Situation never gets old; it’s a very ‘feel good’ moment.

(Photo by Dave Gabbard)

(Photo by Dave Gabbard)

Our first chance to shout at the devil came with Looks That Kill with the tempting hot silhouette of an unnamed lady giving the crowd an early kick start. Close your eyes, its 1981 again, On With The Show! Too fast, Too Fast For Love, do you remember? Smokin ain’t allowed in school but there’s plenty in the boys room. We got an older one they hadn’t played in a while. The girls screamed as Tommy hit the first beats to Without You as dreamy, emotional confetti poured from the ceiling. Mick hit a few off notes in the solo, but it’s forgivable.

This city full of plastic angels will seduce you, welcome to Los Angeles. It’s a dirty job but they all did it after Sixx met Tommy, drunk in leopard pants at the Starwood and Mick through a fucking insane guitar player ad in The Recycler. One long persuaded audition later after singing Cheap Trick at The Starwood Vince joined and ‘a motley looking crew’ was born, drenched in Lowenbrau.

They’re no strangers to anarchy, debauchery or heresy, in the US, UK or elsewhere.  Vince asked where all the young people were at. You’re Too Young To Fall In Love. Darkness eclipsed the stage as a symbolic, subliminally faded pentagram appeared on screen. The flames of hell bellowed on stage and Nikki’s flame thrower bass shot out balled up infernos singeing the air. Come now children of the beast be strong and Shout At The Devil. Don’t Go Away Mad, Just Go Away.

Mick played a truly mind-bending solo of Pink Floyd meets Van Halen fit for a mad scientist or a vintage horror movie villain. Live Wire, the very origin of the band, was another historical feel good moment followed by the good doctor’s Frankenstein remedy. The national anthem for all the lovely ladies of the CrueNation started as the bikes revved up for the cruise. Mick kick-started the finale with the adrenaline fueled riff and an extreme assault of fire, steam and explosions as all other on stage nasty’s exploded and boomed.

Tranquil music played at the Motley’s traveled to mid-pavilion, performing Home Sweet Home on the small, rising makeshift stage.

Then all good things Motley that were bad did end, for Southern Ohio/Northern Kentucky. No matter when they finally call it quits their legend and legacy in rock n roll, metal, LA and music will live forever. Vince capped the night off best “We’re gonna miss you fuckers, man. Thank you, goodnight.”

Photography by Dave Gabbard.

 

Filed Under: Dayton Music Tagged With: Dayton Music, Reviews

REVIEW: The Architects of Ohio Metal at Blind Bob’s

May 7, 2014 By Mike Ritchie Leave a Comment

On Saturday April 26th, four Ohio bred metal bands came to Blind Bob’s to make noise, scream, yell and thrown down in a small deadly space, where the moshers really danced and the pit was much more friendly than the ones outside.

Columbus’ Northern Widows  opened with a short set of six songs, just long enough to keep the hardcore fans’ attention, because Sargent D was coming, and you’re all on his list. Playing a nice blend of thrash, groove and speed with some old school punk attitude and delivery, they opened with the aggressively fast Boundaries & Vices and then got moody, muddy with some boot stomping drums and guitar on The Blessing Way. The Ghosts Of My Sins Are Consuming Me had a slower, dirtier beginning with guitar groove a minute in. Standing On The Shoulders of Omega was an ode to a lost family member, standing at their gravesite wishing them well in the afterlife. Three Storms was the slow mosh tune while A Clock Without A Craftsman finished with an old school punk feel.

 

Imbroglio (photo by Mike Ritchie)

Imbroglio (photo by Mike Ritchie)

Red Moth Inc, Dayton’s home of players and producers of anything and everything extremely not mainstream brought us Imbroglio, born in 2007, with six releases to date including this year’s The Struggle In Pursuit EP. Experimenting with grind, sludge, doom and whatever they want to hear and are influenced by, the band pushes their dark creations through the speakers for you to hear like the noise of an army made by three men, questioning comfort zones and what is ‘safe’ to play.  After the drum smashing, uneasy guitar interplay of the Full Speed face smasher, we get bit from 2012’s Declared Self Hatred with Sharp Teeth. Then, The Drought comes slow and damaging, with Sabbath sludge, leaving throats dry from yelling. When all hope’s gone and the end comes what have you done to leave a mark? Daybreak delivers melancholy with an eye opening hard bitch slap to your morning wake or keeps insomniacs going with its wall scratching charm, Meshuggah tempo’s and Dillinger Escape Plan breakdowns.  Desolation ends with a slower, trippy sounding ode to atmospheric isolation, with a slow trudge in the end of hopelessness.

Enabler (photo by Mike Ritchie)

Enabler (photo by Mike Ritchie)

Ohio’s Enabler owned the stage, getting the crowd pit ready with some wall blaster tunes including several new songs from the upcoming La Fin Absolue De Monde LP out May 27th from Earsplit Compound. Metal, hardcore, punk crossovers open a can with the passion in the veins of Speechless, the ultra-fast not quite a minute and a half fury of Mercenary yells the tale of someone who just needs to be taken out, in a low rent blaze of glory. Unconditional Surrender plays with weird chords before the speed slams in, playing frenetic breakdowns while building speed. They played several songs from the upcoming CD including Prey; run, run, run with the speed of a punk song, they’re after you and New Life with its guitar buzzing beginning and very danceable, body ramming beat and pace, with a little Death mixed in for technical flavor. To end the show, a former band member came up and jammed for a very loud and fast reunion. 

Dayton’s Mouth of the Architect took us past the witching hour with sounds and songs that would scare a witch’s Sabbath into casting protection spells. Going strong for a decade, playing most of the songs from the new Dawning EP, they open with the almost ten minute Lullaby starting soft and soothing while the bedtime story yells you to sleep. Sharpen Your Axes got the crowd in a killer mood starting slow, but with menacingly subtle stalking guitar strings before the invading high squealing notes come from behind. The Other Son could be the sludge/prog/doom version of Dream On with Irish drinking song vocals at the five minute mark before going into the dark side of Tool territory ending with unexpected calm and quiet twisting attack of the keyboard/ sound manipulator.

Filed Under: Dayton Music Tagged With: Blind Bob's, Dayton Music, Mouth of the Architect, Red Moth Records, Reviews

REVIEW: Decibel Magazine Tour Decimates Columbus

May 5, 2014 By Mike Ritchie Leave a Comment

Noisem (photo by Mike Ritchie)

Noisem (photo by Mike Ritchie)

On Sunday April 6th, the Decibel Magazine Tour slammed into Columbus’ Newport Music bringing its youngest screamers Noisem, the growling sands of Tibet from Gorguts, the dark horror themed, violent intentions of the Black Dahlia Murder and the graphic godfathers of gore, grindcore and surgical steel, Carcass.

New kids Noisem delivered an opening set of non-stop, psychopathically cathartic tunes that they couldn’t stop moving to. A sonic whiplash ensued with perpetual movement as they cranked out songs from their Agony Defined CD. Their sound is death/thrash metal with an old school Sepultura vibe. Vocalist Tyler played the straight jacket escapee berserker well, thrashing the stage harder with each tune. Vertebrae rattlers Rotten Remains and Split from the Inside Out pummel until they’re down. Tyler leapt off stage taking the cardio dance to the photo pit, getting in the crowds face, frantic in performance possession, trapped in a spiritual shaman war dance, sweating/screaming out his demons with every head-bang and growl.

Gorguts made their Columbus return, in much nicer weather, bringing their set to a mesmerized crowd in awe of Tibet’s heavy history. Starting with the fast-slow mix of pulverizing guitar work/drums and haunting interludes of Le Toit Du Monde, the highest level on the planet is the home to many sights, stories and mysteries. An Ocean of Wisdom wastes no time ramming its guitar necks down your throat viciously with no apologies, removing at two minutes, slowing down the tempo before reinsertion. Even in death the 13th Dalai Lama gave clues pointing to his successor. Forgotten Arrows, inspired by the words of Buddhist Monk Matthieu Ricard, makes a melodic death metal tune sound as happy as it can be. Title track Colored Sands aka the wheel of time, gives peace and healing to all things starting with its single, simplistic, alluring but foreboding plucked notes turning up the charged tempo with some addictive body moving chug. The heavy metallic voice of ancient wisdom churned and shredded out of a guitar. They finished with the guitar screeching, wrapped around your neck screaming and squeezing title track from their ground breaking record, Obscura. Beautifully grim guitar notes tapped into your head like an automatic staple gun.  Luc Lemay gave a shout out to everyone he saw back in December.

DSCN9902

The Black Dahlia Murder (photo by Mike Ritchie)

Black Dahlia Murder starts with a signed sealed and delivered screaming sadistic apology/confession of the unknown sadist who took the young starlet, giving her immortality through death becoming a true crime legend. In Hell She Waits for You, with a sawed off torso and some mean karma. We go to commit our own atrocities, feeding the nocturnal beast within as we look up, teeth sharpen, eyes turn to dark scarlet rage and hairs rise up as the Lycan bloodlust takes over, reflecting the glow of the Moonlight Equilibrium. Now a salty sea’s tale from the Everblack, told by the battle worn, rusted vessel of the damned, hunted by its bloody history. God seemed to be MIA tonight, as our Beloved Absentee searches for a reason for our worship and penitence.  A war torn case of historical Statutory Ape, leaves a world’s dignity destroyed and violated from the horrors of war to the horrors of 1980’s comic book adaptations of terror. Meteors bring the green along with beasts in crates and cheating spouses on a day at the beach. Mankind’s karmatic destruction comes with insatiable appetite, a sick and twisted dismembering fetish of pain giving pleasure. What part of you don’t you like? Most of what moves, Phantom Limb Masturbation, climax at separation.

What a Horrible Night to be among the cursed walking dead, conjured back to un-life by the dark one, cannibalizing the living, swallowing souls for the grave.  I Will Return, from this ice cubed crypt, a cryonically frozen man.

Splatter death metal, gore-grind, pioneers of melodic death metal, whatever toe tag you want to hang Carcass is the autopsy room’s house band and metal masters of the morgue churning out a gross use of lyrical misconduct and bringing noises out of guitars that bring back the dead. A career made from sick symphonies, necromancy and art collages of death.

Carcass (photo by MIke Ritchie)

Carcass (photo by MIke Ritchie)

The howling guitars of their birth year, 1985 sang out from the autopsy slab as they appeared ready to perform non-anesthetic open heart-work on anyone ready and willing. The spinal-connected hands of peace opened and Buried Dreams began…welcome! It’s been a long time Columbus! Are you ready to rock? When Jeff Walker says it, it’s not a cliché, it means you’re about to get your innards scrambled. Walker’s cheery opening belies the dark macabre manifesto of twisted talent buried inside the devils delivery with humor in a British accent, as dual video screens broadcast the evening’s voyeur visage. They pull out the wrapped plastic (decades before Dexter) and body bags early with Incarnate Solvent Abuse. We got the night’s first taste of the newest tools of the trade with a Congealed Clot of Blood frozen on the Cadaver Pouch Conveyor System, causalities of the blood lust and pink mist. Time to estimate the rotting layers then mass calculate the body stock pile on Carnal Forge.

We take another un-sanitized stab into cold flesh with Surgical Steel on Noncompliance then continue the heart games without emotion on No Love Lost. Walker throws a few bottles of clear liquid embalming fluid from the tap to the crowd. ‘Don’t throw them back or we’ll see you’. We enter the Dark Granulating human churning machine with its Satanic charm and numeral mystery. A three era dose of heavy ether was next starting with a fresh mourning cup of Wake Up and Smell the Carcass with the slow bluesy grind of Edge of Darkness. The frantic beat and guitars crunching bone on This Mortal Coil and the air tight sealed winds of ancient death blow within masking the dead’s ancient whispers as they Reek of Putrefaction trapped in a permanent death/murder montage.

In true British humor, Carcass style, Walker mentions one of their guitarists is legitimately quite ill, but he’s a trooper this evening. ‘It’d be cooler if he threw up on stage, it’d have much more appeal.’

It’s, Unfit for Human Consumption; indeed, even for a cannibal’s holocaust or a grave-robber’s Gein, a creepy closed-door craving left off the coroner’s report. Walker joked that anyone who’d never seen them might think all the songs are on the new record, or maybe this one’s from 1987. They crank out the uncomfortable instrumental Genital Grinder then feast on the Pyosisified rotting remains, a meal too vile for even Hannibal to digest.

Walker also mentioned, tongue in cheek, that during their ‘secret recording sessions’ for the comeback Black Dahlia Murder tried to steal their drummer but Jeff put his foot down pointing ‘No no, girlfriend.’

It’s the graveyard dinner bell and the dead are spoiled but ready for the feast. Exhume to Consume is on the menu, way past expiration is how they’ll have you. Captive Bolt Pistol’s a trigger stop to the working mind. Corporal Jigsore Quandary, a mutilated, massacre of human debris, the rotting anatomical puzzle sewn back in piece.

They go ‘a bit’ more commercial as Walker announces some tunes from the Swansong era asking that all doors be closed and locked so no one can run and leave. We Keep on Rotting in the Free World under that bright shining Black Star. Ruptured in Purulence is our final tale of sickness before the crowd pleasing works of art are painted black in magniloquence ending with a taste of the Carneous Cacoffiny.

All images by Mike Ritchie
Black Dahlia Murder Setlist courtesy of Kelli Malella and Max Mobarry of Crucifixation 

Filed Under: Dayton Music Tagged With: Dayton Music, Reviews

REVIEW: Revolver’s Hottest Chicks in Hard Rock Tour Columbus

March 20, 2014 By Mike Ritchie Leave a Comment

Sick Puppies (Photo by Samantha Stewart Photography)

Sick Puppies (Photo by Samantha Stewart Photography)

On Friday, February 28th, The Hottest Chicks in Hard Rock according to Revolver Magazine soared into Columbus via Columbus Events Group, the Alrosa Staff, 99.7 The Blitz, Revolver staff and The Shrunken Heads co-owner and Azoic singer Kristy Venrick with a parking lot full of people following them in. Cilver, Eyes Set to Kill, Lacuna Coil, Sick Puppies and the winner of the Facebook fan voted local opener Able Danger all played for an appreciative loud crowd. Long ago and gone are the days of women being the sexy background or provocative eye candy of the show. Despite the tours descriptive adjective, the talent, history, musicianship and stage presence that brought the ‘chicks’ here got the spotlight.

Able Danger (photo by Samantha Stewart Photography)

Able Danger (photo by Samantha Stewart Photography)

Dayton’s Able Danger bested 74 other bands with female members in a state wide contest with six finalists in a vote based contest on Facebook to earn the opening spot in Columbus that evening. They’re a very young group, together for only four months, but they make up for their hatchling status with a collective four year history in the Dayton scene in other bands. With former moniker Hereafter, guitarist Chris Stewart joined Jason Winner and Ben Willis with blonde mouthpiece Nikki Luttrell to form the progressive rock sound of AD. Look for their debut in April.

They start with Chaos, a dark, ambiance tune with cranky, growling monster in the closet guitars adding Luttrell’s classic keyboard notes and emotional, melancholy and somewhat creepy vocals sporting the inherited talents of mom and dad. Think the dark side of Roxette and a classical gothic Sheryl Crow. Stewart, a guitarist since age five, comes from a musical family. There’s a certain amount of pain and sorrow in Luttrell’s voice which she blends beautifully with power and emotional confidence.

New York’s Cilver, formally Me Talk Pretty, starts the tour with songs from their just released debut EP featuring In My Head with an appearance by GNR guitarist Bumblefoot. Lyrically it’s a sarcastic, hard-driving satirical look at fame and fortune and feeling the pressure for success. Loud voiced leather clad and tasseled singer, Romanian born Uliana Preotu took over the stage with rasp and attitude. Shimmying out of her jacket into blacker attire, she’s reminiscent of Flo with a more ‘progressive’ harder edge. The crowd claps along feeling the bass thump in their hearts. They have some of the glitter, dirt and grime that Guns n Roses made shine in their early years, and they’re taking their gutter dreams to the penthouse.

Eyes Set To Kill (Photo by Samantha Stewart Photography)

Eyes Set To Kill (Photo by Samantha Stewart Photography)

Started in Phoenix in 2003 by the Rodriguez sisters (Alexia on vocals, guitar and Anissa on bass), Eyes Set to Kill have been on the cover of USA Today as one of Alternative Press Magazine’s “100 Bands You Need To Know.” Through numerous member changes, their debut EP sold 11,000 units. Their first full length, Reach in 2008, hit No. 29 on Billboards Heatseakers chart and No. 77 on Billboards Independent Music charts. The World Outside came in 2009 along with an acoustic EP by Alexia, then Broken Frames in 2010. Alexia also released her first solo record Underground Sounds. They released White Lotus in 2011 in a joint venture with Maphia Entertainment on their own label Forsee Records; then signed with Century Media Records in 2012 currently supporting Masks.

They blast open the metal doors pounding the stage with feminine aggression and sound opening with the creepy baby-doll coo of Masks into the thud pummeler Killing in Your Name. Playing the Alrosa a few years back, Anissa plays chug bass bouncer Where I Want to Be. Alexia’s vocals are powerful, soulful with a nice amount of aggression and high peaks, an addictive mix of Crucified Barbara, Drain STH and Lita Ford.

Masks’ title comes from the number they had to wear to impress different people and after so many changes they’ve finally found their face, without the masks. Haze and another new tune Little Liar deals with doing bad shit and karma, it always comes back around. Alexia’s delivery and performance shows there’s some bubblegum in the bad girl. They end, infecting us all with the horror of Silent Hill.

Lacuna Coil (Photo by Samantha Stewart Photography)

Lacuna Coil (Photo by Samantha Stewart Photography)

Milan’s Lacuna Coil come to us with some Dark Adrenaline and Trip the Darkness with the crowd eager to oblige Cristina’s singing, come to me and follow me, follow me. Our second helping of dark energy comes to Kill the Light inside of us. Cristina Scabbia, dressed in bad fairly-tale stepmother black, twirled, dancing the stage, engaging the masses acting out each song with an enticing grim smile and her own touch of evil evanescence.  She seduced all with her enticing aura and piercing gilded glance. Lacuna’s male voice, Andrea Ferro, equally plays the mysterious warlock spellbinder.

Scabbia, a professional singer since 1991, is a lyricist and the feminine voice of reason and advice in Revolver Magazine. She’s been featured on Megadeth’s A Tout le Monde and Apocalyptica’s S.O.S. (Anything But Love) and an alternate version of Alter Bridge’s Watch Over You. Known for her dark haunting image and range, her highest note ever hit is said to be an A7. Scabbia performed a duet with Linea 77’s former singer Emiliano Audisio on the track “Beautiful Lie” for the soundtrack of the 2013 Italian film Passione Sinistra. She’s recorded seven records and two EP’s with LC.

We’re intoxicated in their presence. Whatever the Karmacode might be, we’re happy with our Fragments of Faith. Scabbia continues her interaction as our beloved wicked queen offers the musical poisoned apple to devour. The first new track from Broken Crown Halo, Die & Rise tells us to do so with no regrets. Shiny gothic power continues to flow into tomorrow if it comes. We’re Spellbound with a taste of the Shallow Life.  They’re living the dark side Upside Down and laughing at their disaster. We get hallo’ed again with Nothing Stands in our Way, a message to go after your dreams no matter what. They end giving everyone good karma from theirs to Our Truth.

Sick Puppies (Samantha Stewart Photography)

Sick Puppies (Samantha Stewart Photography)

Not all Aussies are sick puppies but fortunately for us, we get three that are. The Sick Puppies open with Die to Save You off the new CD. Half-way through we’re introduced to the angelic vocals of bassist/co-founder Emma Anzai. “You ready for this rock n roll show?” yells Shimon Moore. We’re all just walking Cancer, dressed up as life, searching for disaster, says their sophomore chapter of tunes. There’s no Going Back cause the past is in the past and it doesn’t last. Leave the memories behind like a desert illusion. The devil’s up to his old tricks already, and we’re only four songs in. He’s definitely an Odd One and Tri-Polar at that, adding a bit of rage to his pocket full of shells. Everyone’s got their own personal Riptide to ride and the water’s turbulent but fine. The next song went out to all the people back home from the teachers to the other kids that disrespected them and said they couldn’t do it. Now they send those people pics and texts of them rocking around the world. Welcome to My World, my beautiful nightmare and personal hell, they’re always Dressed Up as Life.

From the devil, to a darkened life we get an uplifting tale of the road to a new life on Maybe. Your Pitiful life’s worth more than an overdose because you think Nothing Really Matters.  Welcome to the Real World as Anzai the ‘Female Flea’ slaps and chisels the bass out of her onstage dance partner both in performance and her funky solo. Drummer Mark Goodwin also gets to shine on the sticks. It’s time for War as Moore instructed the crowd to put hands on the person in front of you, friend or stranger and start the biggest bounce pit in Columbus history. Jump up and down like you just got electrocuted by Blanka. From the mean streets of the fighting pits to the dusty old west, you never bring a knife to a Gunfight, you’ll lose! When they’re not shooting off or standing in front of tanks, they’re fighting or playing with Foo. ‘You have exactly 3 ½ minutes to go absolutely crazy in the pit.’ They end with their battle cry and You’re Going Down!

Images courtesy of Samantha Stewart Photography

Filed Under: Dayton Music Tagged With: Dayton Music, Reviews

REVIEW: Alrosa Villa Host Amplified Awareness II Benefit

March 11, 2014 By Mike Ritchie Leave a Comment

Jasmine Caine performs at Amplified Awareness II (photo by Samantha Stewart Photography)

Jasmine Caine performs at Amplified Awareness II (photo by Samantha Stewart Photography)

On Saturday February 7th, the second annual benefit fundraiser raising awareness for children with Autism and Tourette Syndrome was held at Alrosa Villa in association with the Make It Fit Foundation and the Iron Brothers of Ohio. Last year’s inaugural show featured Loboz, Fat Dog and Jasmine Cain. This year the sultry, bass-hammering songstress returned continuing the party where she left off last time, stage diving and all.

Event organizer and Make It Fit founder Mike Hoover has made Autism awareness/research his mission, working tirelessly with local businesses, charities and musical talent to raise money for research with events like the Ohio Ride for Autism and the 2nd annual Make It Fit fundraiser party with reigning 3-time Mr. Olympia/2013 Arnold Europe Champion Phil ‘The Gift’ Heath February 28th at Encore Columbus. Iron Brothers of Ohio, with special assistance from Jon Clevenger, once again worked hard sponsoring the event and raising awareness for both the show and the causes to make the event a success. Beckner’s Costume Cycles, QFM 96, CA Harley Davidson, Thunder Roads Magazine, Quaker Steak & Lube of Columbus, Boyd’s Tire & Service Centers also stepped up again this year sponsoring the event. QFM’s Sue Leighton MC’d the evening along with Hoover.
Phillip Fox Band (photo by  Samantha Stewart Photography)

Phillip Fox Band (photo by Samantha Stewart Photography)

This year Columbus southern rock charmers The Phillip Fox band and Dayton’s blues maestro Scotty Bratcher warmed up the crowd for the sweet Jasmine.  The Columbus country-fried rock started Phillip Fox style with a bit of country, a bit of rock n roll and a lot of good ole boy southern comfort. They start with the Allman Brothers tale of woe, romancing the wrong lady, ending up on the Whipping Post. They play their first original from the Motor City Blood EP, Goin’ Out With You, a bar romping, beer clanking good time tune about spending time with that special lady that warms a country boy’s heart. They rock the depression and loss right out of the old-school genre. Thanks to Kip Moore, we can make tonight legendary and do anything we want honey, because we got some Beer Money. We take a ride with The Cars and that girl that keeps us up all night. We fly with The Eagles in the Fast Lane. Next stop’s Strait to the Heartland with a swampy slide guitar intro into a country stomp as old grandpa spins photographic tales of a hard long-life well-lived In Color. We take a ghostly night journey through thunderous clouds with the man in black; time to change your ways, there’s no reason to chase the devil today. Telling life stories on the guitar strings with rainmaker drums and bass galloping through the sky stretched desert.

Now a tune from the greatest movie ever made (someone yelled Goonies), going Eastbound and Down with Burt, Jackie, Sally and Jerry. We’re taking the southbound train to Georgia with Marshall Tucker and getting away from that damn woman. The Alrosa floor ‘pit’ had some different kind of dancing that night, with some swagger and style. Next is the title track to Motor City Blood cause family’s hands and roots are bled and bred in Detroit. The big ole stand-up bass got pulled out on I’d Be Runnin’ Too.  They answer the call of the south and the Simple Man and play some Skynyrd (without being asked). Ozzy sang it; Sam Kinison made her reputation worse and Mountain created her story, now it was time for Phillip to sing her tune. We get one more original Just One Step Behind, also getting originals We All Lose Somethin’, Been Workin’ and I Ain’t Angry all slated for upcoming release.  Influenced by Blackberry Smoke and CCR they’ve been together for three years releasing their debut EP Motor City Blood in 2012 and plan to have a full length CD out this year. With 175 shows last year, they plan on continuing their road dog ways.  They have a foxy lady blues sound with a Skynyrd meets Hank Williams country rock done flannel style, with bassist Jonathan Kampfe being the sharp dressed man of the bunch. Fox having a unique vocal range sounding a combination of ZZ Top, Gavin Rossdale, Chad Kroeger and John Melloncamp. They’re a Charlie Daniels spiked cocktail, boot stompin, hot rockin country mess of good sound.
Scotty Bratcher (photo by  Samantha Stewart Photography)

Scotty Bratcher (photo by Samantha Stewart Photography)

Scotty Bratcher shreds playing the blues with Van Halen force and precession with video-game like soloing. Stevie Ray Vaughan meets Bach on guitar with hypnotizing sound and flair. He plays a hard-edged style, with a little 80’s sheen and some Clapton and Eric Jerardi for good taste. He brings out the attitude, anger and fury of the instrument setting notes and frets on fire. What guitars can’t say on their own, he spells out with fingers. Using the slide to paint a musical picture making it a fire breathing machine, multiple conversation piece or one moody bitch. Leaving no inch of the neck untouched, bringing out the most complex emotions from a gentle touch to full-finger petting. Bratcher’s a blues version of Angus Young playing the blues partner to Eruption.

We get Rollin’ with some original tunes then get backwoods dreaming with roadhouse rocker Back Home to You. Watch out, Bratcher plays a mean Cold Blooded Killer guitar with bad intentions, though he makes it sound so alluring. We get caught playing ‘teacher’ with that little school girl thanks to Jonny Lang. We go old-school vintage with guns blazing playing the 32-30 Blues with Robert Johnson. We get the Funk out 49 different ways with the James Gang and lay our money down for Zeppelin, living and loving. Then the eight minute blues rock feast of Ready for Rain. They pay homage to the great Muddy Waters as the King Bee.  We’ve got one more silver dollar for the Allman Brothers and the Midnight Rider.

Bratcher then played with his wah-wah pedal tuning up the headband wearing wizard’s guitar to play homage to the master with some Voodoo Chile.  Playing guitar since age 2, he’s developed an incredible, aged sound ‘taking notes’ from some of the all-time greats.  He got his first live music experience at 11 and in 2000 entered the National Jam With Kenny Wayne Shepherd Contest in which KWS’s new single at the time was downloaded and contestants made up the lead solo. Out of 1,200 entries, Scotty received 1st runner up.  He’s opened for Ted Nugent, Blue Oyster Cult, Chris Duarte, Foghat, 38 Special, Styx, Peter Frampton, Kenny Wayne Shepherd, Lou Graham and many more. He’s also an accomplished multi-genre studio musician recording with blues, rock, country, gospel, funk and metal artists. Since 2007 he’s played with Kenny Wayne Shepherd singer Noah Hunt as guitarist and second vocalist of The 420 All-Stars. In 2013, the album “All and Nothing More” was released featuring new original songs and a few covers featuring legendary Southern rocker Jimmy Hall. After the release, Mr. Hall contacted Scotty about starting a side project together, adding yet another set of opportunities to see Scotty do his thing. 

Jasmine Cain  (photo by Samantha Stewart Photography)

Jasmine Cain (photo by Samantha Stewart Photography)

The road gypsy herself Jasmine Cain just made it from a show in Cincinnati, throttling herself into a Paranoid state of mind. She made her presence known the red hair blazing, gothic muse raising hell, dressed to kill like Stevie Nicks in fishnet delight. We get buried in with the Man in a Box. Jasmine thanked Mike Hoover and Jon Clevenger for all their hard work for tonight. All their Dirty Deeds didn’t go unnoticed as Jasmine puts some raspy Angela Gossow vocals on the tune originally sung by Bon Scott then Brian Johnson. The drinks were flowing but we had the right tool to stay Sober. They played the night’s first JC original the Sons of Anarchy themed Highway Prophet. We take a trip to late eighties LA and the rough streets of Hollywood, Welcome to the Jungle baby. Jasmine doesn’t take time out to drink, she drinks during the song. A Molotov cocktail with a match to go, Jasmine plays her bass with style. For all the lovely ladies in the house we got crazy bitches everywhere. We hop aboard Jasmine’s Crazy Train off through the blizzard of Columbus on the way to Ozz. We get another dose of firearms and flowers, It’s So Easy, when everyone’s trying to please Jasmine. With a feminine smile and snarl The Symphony of Destruction begins.

A word of on-stage advice, tequilas bad for you, whiskies worse, we get Thunderkissed down Highway 65 and get the Zombie’s curse. The Sandman enters the room as the light exited hours ago, drowning the crowd in a pool of war, liars and dragon’s fire and the things that bite. We finish with Filter, raising glasses and giving new meaning to ‘hey man, nice shot’. Cain promises a killer stage dive driven by rage, finishing with Killing in the Name of.

Jasmine jams with newest member, self-taught guitarist Mickey Bradam, a multi-styled player, teacher and studio musician. She’s come a long way since playing the Full Throttle Saloon in 2000, releasing her debut album The Inside and title track video in 2004. Videos for Sweet Euphoria and Help Me were released in ’05. Headlines Easyrider shows three years in a row starting in ’07, then released Locks & Keys in ’08 and Highway Prophet in 2011 winning Female Rock Vocalist of the year award at the first annual Music City Mayhem Awards.  www.jasminecain.com

The Make It Fit foundation has spearheaded attention for Autism awareness since November 2011.  Working with professional athletes from MMA, football and baseball and also appearing at the Arnold Classic and Mr. Olympia 2011 and 2012. They’ve donated to numerous charities including Autism Speaks, The Autism Society of Ohio, Cookies for Ipads, Recreation Unlimited, Oakstone Academy and several more. They’ve also partnered with the owners of White Castle who donated 10 million dollars to further Autism research and also donated to Ohio State University and Nationwide Children’s Hospital in a joint venture called The Ingram Autism Research Center. Make It Fit also donated to The Ingram Center and the Tourette Syndrome Society of Ohio. The Alrosa Villa hopes to make Amplified Awareness an annual event.

Autism is described as a neural disorder affecting mental, emotional development resulting in impaired social interaction, communication and repetitive behavior. It is one of three disorders in the autism spectrum (ASDs) the other’s being Asperger Syndrome which lacks delays in cognitive/linguistic development but greatly affects social behavior. Pervasive developmental disorder-not otherwise specified (PDD-NOS) is diagnosed when the whole set of criteria for the other two aren’t met. Autism has a strong genetic base and signs are noticed within the first two years of life. Hollywood has featured characters with autistic characters including Rain Man, What’s Eating Gilbert Grape, Bless the Child and Mercury Rising and TV’s Parenthood, Grey’s Anatomy, House, Law &Order Criminal Minds, The Shield and most recently Touch.

Tourette Syndrome is an inherited mental disorder triggered in childhood characterized by multiple physical (motor) and vocal (phonic) tics that come and go and can be temporary suppressed occurring from an oncoming pre-urge. TS is defined as a tic disorder which are sudden, repetitive, body movements, sounds and vocalizations which include sniffing, blinking, facial movements, body jerks and spasms. Audio tics include making noises, involuntary cussing, swearing and other derogatory language, though the tics generally subside with age. TV shows featuring TS characters include Curb Your Enthusiasm and The Sopranos with documentaries Twitch and Shout, Magic Camp and the film short Harvie Krumpet. The 2008 TV movie Front of the Class is based on the real life story of TS diagnosed Brad Cohen who became a gifted teacher. Depending on your sense of humor TS has also been lampooned in Deuce Bigalow and mentioned in The Wedding Singer. May 15-June 15 is national TS awareness month.

Images by Samantha Stewart Photography 

Filed Under: Dayton Music Tagged With: Dayton Music, Reviews

REVIEW: Butcher Babies Massacre Cincinnati on Hellpop II Tour

February 16, 2014 By Mike Ritchie Leave a Comment

Before the Mourning (photo by Mike Ritchie)

Before the Mourning (photo by Mike Ritchie)

On Jan 12, ¾’s of the 2014 Hellpop II tour came to Bogart’s in Cincinnati. Due to strep throat taking her voice with a high fever, Maria Brink was unable to perform. However the rest of the twisted circus showed up and gave fans a loud, rowdy show that brought many screaming, thrashing bodies over the crowd barrier eager to say hi.

From LA comes Before the Mourning, a new dawn for heavy music injected with young blood and passion. Three guys and one hot iron maiden came to play for the early evening pit ready crowd. The sweat, saliva, testosterone and estrogen flew as they christened their first stop at Bogarts with a definite Need to Bleed out. Clean melodic yelled vocals by Adam Ryan started the adrenaline opener sweeping over intense opening guitar interplay with pulsing bass and slamming drums. The industrial steam pump beginning of Grim went on a roller coaster ride of impassioned tortured vocals with a violent frantic guitar sound playing up and down your neck like a human fret-board.  Slipping through the icy-cold clutches of darkness into mental oblivion. We got a very short break from the nerve wracking mental catacombs with the twangy guitar build of Damned & Forsaken only to be hit by thick Meshuggah riffs. ‘We’re all angels and demons, who’ve lost all feeling,’ the message screamed from the broken heavens as we fall earthbound lying face down slammed in the dirt to wither. By our deeds, not everyone has the right to live but we all have The Right to Die. Someone will be there to bury you. No worries, the light brings loud angels with screaming guitars that will carry you skyward or drop you south. Their sound is as catchy as it is deadly with modern day thrash and infectious melodies. They’re a dangerously delicious taste of deadly absinthe. They finish opening the floor for The Abyss proving humans can throw down just as hard as demons. Before the Mourning is a reminder to celebrate and honor the life of those we lay to rest.
All Hail the Yeti (photo by Mike Ritchie)

All Hail the Yeti (photo by Mike Ritchie)

LA’s monstrous mythological contribution of not yet but someday legendary status, All Hail the Yeti turned the stage into the Sawyer/Hewitt family game room, spread with time-weathered skulls, bones, animalized upholstery and some tenderized taxidermy. Either they shop at the international house of bones or trap and kill their stage props before the tour. It’s a coonskin, gator bait grim reaper starring center stage in the bull-headed bazaar, draped and dapper with tribal feathers and fishnet. The Loch Ness was probably hidden somewhere in this wild-west nightmare sipping on dehydration and dust.

They open by taking us on a trip down to the Deep Creek in Big Bear where special chemicals and pollutants mix to create the Alice in Chains version of Creedence Clearwater spiked with some BLS swamp water. The flannel-soaked whisky’s flowing When the Sky Falls, shooting bullets at the moon as sky-bound vermin fall in the fire. We get hot and heavy in the dark Suicide Woods, screaming through the trees in search of the wildebeest. Fee fi fo fum, it smells the blood of everyone.  We’re held by impaled burning wood scorched by flame as After the Great Fire graphically tells the haunting tale. The spirits and souls of charred victims young and old cry through the guitars searing notes: I am the devil in the smoke, I am the ghost. After the fire we get three minutes of drowning intensive Bloodguilt. It was time to move the f’n place around. The dirty, fighting, bullet flying old west comes to modern day Cincinnati on The Art of Mourning. Campfire harmonicas fire up a blaze of sound as bodies sway in the fragile wind, tried running from the angel of death, roped, drawn and quartered by noon, wife, victim of outlaw rape and shot, gone and buried too soon. Revenge is sought, the cross will lead you.  Blood spilt for blood; the crow’s eyes see all. Walk with her in spirit to heavens call. Turning their backs on their Hollywood home and better for it, they’re a nasty, smelly boogie man campfire tale come to life. AHTY is the 2006 brain child of singer, tattoo artist Connor Garritty and guitarist K.J. Duval.  Quickly earning a reputation of stalking their audience with a dead in the eye stare, their shows have left behind a metal hunter’s stake of human remains, oddities, parts and limbs lying about. With savage guitars riffs and dark melodious melodies AHTY is what you’d listen to, blocking out the pain trying to escape out of a bear trap.
Devour the Day (photo by Mike Ritchie)

Devour the Day (photo by Mike Ritchie)

From Memphis and the remains of Egypt Central, Devour the Day start out with a Joey Chicago bass funkin, air hammering, sheet-metal sparks flying beat with jamming guitars of Get Out of My Way or be trampled.  It’s electric dance floor destruction at its schizophrenic best. You and Not Me cries for salvation that can’t be seen through another’s eyes. Handshakes to Fistfights comes in looking for trouble, road weary from death’s hand in back-street Memphis. They’ve risen and fallen, too late to turn back now, no point in relapsing to rehab, time to evolve. Ft. Wayne drove them crazy, infatuation isn’t love. Respect… must be earned, and you don’t deserve it. Run away, like a little bitch, you’re not worth it. Their classical piano keyed rock anthem Oath is a promise of a homeward bound to that special someone. Time for a Blackout, everybody freak out, the sign of the times is here. It’s a catchy, bouncy hard rock sing-along. The ‘closer’ opening beat of Move On has infectious techno-pop effects carried by strong emotional vocals and punctuated bass slides. Blake Allison pulls a strong vocal ‘tool’ out on Good Man trying to cast the demons out with the light. New CD Time & Pressure is available at www.devourtheday.com.

The Butcher Babies‘ massacre began when three guys and two loud and proud women teamed their admiration of Marilyn Manson, Slipknot, Slayer, Iron Maiden, Cannibal Corpse, Joan Jett and Gwen Stefani (yep) into their version of musical butchery. Their style is also heavily influenced by iconic grindhouse horror classic The Texas Chainsaw Massacre and the modern day malicious theater of House of 1000 Corpses and The Devils Rejects.  However the person holding the most influence, watching from the metal heavens above, is the queen of early 80’s punk, metal and shock, The Plasmatic’s Wendy O’Williams. Her bad ass, don’t give a s—t what people thought attitude resonated with the band not only influencing their on stage attitude but for the first several years Heidi Shepherd and Carla Harvey’s stage attire consisted of black nipple tape in tribute to Williams persona. What young, impressionable youths wouldn’t be impacted by a crazy mohawk sporting chick driving a school bus into a wall of TVs in the desert? They also took their pluralized name from the Plasmatic song Butcher Baby and gained early attention via YouTube for a performance of F—–g Hostile. They’ve recently retired the tape for more fully dressed metal garb stating that they’ve paid respect and now it’s time to evolve. They self-released their first EP in 2011 and a comic book at Comic Con by Harvey, who’s also a novelist and licensed funeral director and embalmer.
The Butcher Babies (photo by Mike Ritchie)

The Butcher Babies (photo by Mike Ritchie)

Their show is a wild, vicious display of power with decibel shredding double vocals, pulverizing guitar, bass, drums and hot female aggression. In January 2012, they released Mr. Slowdeath and in May premiered the video from their EP, signing with Century Media in November and embarking on a two month tour with Marilyn Manson. Days later they began recording Goliath, releasing the I Smell a Massacre single in June. Goliath was released in July, touring the Rockstar Energy Drink Mayhem Festival Jagermeister stage in support. Touring continued with Danzig, Texas Hippie Coalition and A Pale Horse Named Death.  The album is a story about the forsaken, shunned by society, festering in the underground, transforming into the Goliath in a world where the more heinous the act, the greater your legend becomes. Thematic songs about the demons around us and trauma suppressed memories that still scream in our sleep. The alluring demonic hell-bred combination of two beautiful voices singing and screaming out ravaged throat-tearing angst counter balancing hope and rage in the same cage with intense brutality.

The blood red illuminated curtain opens, the crowd stands ready for pit-stance.  The smell of bloodshed fills the room with Heidi’s impassioned emerald-ended blonde warrior scream. The massacre’s back here again from a year ago, as the audible mauling begins with the opening throat slit riffs of Henry Flury. The beast inside comes out at night. Two predatory animalistic voices ready to drive insanity into your brain. We see the dark side of the mirror; if these broken glass feelings won’t cut you with frenetic speed, the Butcher Babies will. We feel Harvey’s agony with these feelings of remorse, it’s gonna be a long ride.  Shepherd’s high peaked shredding shrieks prove it’s amazing the stuff you do and the sh- you f- up when you’re In Denial. Brunette song siren Harvey lays down the hypnotizing strong melody as the perpetual movement continues. They’re plasmatic princesses of battle-torn burlesque in a Mad Max world.
The Butcher Babies (photo by Mike Ritchie)

The Butcher Babies (photo by Mike Ritchie)

Heidi and Carla, much to the chagrin of front stage security invite everyone in the back to ‘find a way’ to the front. Going back to the Butcher Babies EP and a visit from Dr. Feelgood himself, Mr. Slowdeath, as no less than 20 ‘surfers’ did the climb of life during the, hungry for more guitar/bass riffs, making their human-handed way towards the stage within arm’s reach during blood-drenched, emotionally scarred words. The babes and babies called for that one ugly word with fists in the air, screeching like a tortured soul with unanimous headbanging. It was a leather and lace request/order with boot-licking loud good taste from the crooning voice of a hell’s angel on aged whisky. They wanted the biggest Bogart‘s circle pit ever as they enraptured everyone in full Hi-Def sledge-thudding, secret candle lit meeting Deathsurround sound.  Let’s hear you scream Cincinnati! This city of angel’s creeps down the alleys of disease, destroying your innocence, passion and dreams, turned into a different person by drugs, booze and sleaze. Every town has a Magnolia Blvd. The babies get ready to end the show with an old-school Axe Wound to the damaged ear and soul. The crowd falls into the enchanted banshee delivered curse as Heidi, Carla and Henry each take to the railing, standing tall, surveying all who lingered.

They bow, exiting as the house lights come on. But…wait, an attendant ran on stage flashing the index finger. We get one more song.  Like a shot call in a riot, or moshpit, we get chemically compounded by octane with C8H18 as the Gasoline flows.
(Due to severe illness Maria Brink and In This Moment were unable to perform on Sunday January 12 at Bogart’s. The show was made free, and Before the Mourning, All Hail the Yeti, Devour the Day and Butcher Babies performed as scheduled. In This Moment rescheduled for February 3rd with tickets honored.)

Filed Under: Dayton Music Tagged With: Dayton Music, Reviews

REVIEW: Moshpits & Lighters IV Return to McGuffy’s

January 27, 2014 By Mike Ritchie Leave a Comment

Sleepers Awake (Samantha Stewart Photography)

Sleepers Awake (Samantha Stewart Photography)

On Saturday December 21, Daniel DeDoncker’s musical masterminded showcase of rock and metal returned to the scene of last year’s event to celebrate another year of great local, regional and out of state music. M&L alumni Amongst Villains, Avenue Sky and headliners In The Cut returned this year joined by 2013 newcomers Springfield’s Abrade the Regal, Gathering Mercury, Sleepers Awake, newly formed Soul Shadow, Columbus scene vets Overtheory and War of Change.

Columbus’ result of Tool, Opeth and Mastodon in a car wreck after killing the gecko and the cave man together, Sleepers Awake started the show with the eight minute Slave Within. The first 90 seconds sounding like Maynard Keenan fronting Opeth before Chris Thompson’s Akerfeldt growl hit. An acoustic laced metal tune with bits of Serj Tankian added in, playing four songs from the Ascensions record and taking their name from a line by Kyle MacLachlan’s character in Dune. Apparitions is another eight minute mood swinger of dark melodic blues, subdued singing and virtually growless.  Saint Condemned is Opeth thrash meets death metal vocals tag teamed with impassioned singing and Burdened.  Formed in 2005, their June released Ascensions is an homage to the prog-rock metal ingredients of their Canadian brethren. They’ve shared stage time with Ceterum, The Black Antler, Red Sun, Neon Warship and Grand Mammoth among others. 

Soul Shadow

Soul Shadow

Dayton’s newest father and son double-team, times two Soul Shadow came out for their trial/baptism by fire playing their first live gig ever in front of a packed McGuffys house. The music’s definitely in the family for these guys as drummer Aaron Mayes is the offspring of singer/guitarist Kyle Mayes and bassist Justin Ankeney was reaped by guitarist Shad Ankeney. They’ll spend 2014 playing and recording, building a loyal army of Shadow Soldiers until world domination occurs. They debuted a set of originals and covers starting with the Mudvayne’ed beginning of Forgiveness with elder Mayes giving a BLS flavored singing style/biker’s growl to the lyrics. They then introduced the next metal Symphony of Destruction asking if everyone’s ready for some Metallica? Are you ready? Well, too damn bad, here’s some snarled Mustaine done Soul Shadow style. Old-schoolers that know their history laughed off such snide musical treachery. Their second original, a social commentary on governmental operation, growls you’re No Damn Good.  We get the sweet demonic kiss of the zombie and one way ticket down highway 666 to 1965. A tribute to all those we lost in 2013 was played slow, with dark, deep reflections. For Now we must move on, but we will see them again.

Springfield’s Abrade the Regal is a band that has and will play, well, just about anywhere and seem to fit in no matter who’s on the bill. With a mix of grunge and rock, they can please just about any ear and leave it ringing. Starting with Fight for You, they mix a recipe of rock and STP meets Creed with the cretin Creedins rightfully getting their asses kicked. They don’t plan on stopping ever and will See You in the Afterlife at the great big gig in the sky. They spent most of their stage time Screaming at the World that there’s way too much to be pissed about. But they always Reach the End with style.

Gathering Mercury (Samantha Stewart Photography)

Gathering Mercury (Samantha Stewart Photography)

The new and improved Gathering Mercury version late 2013 and beyond debuted bassist Parisa Samavati and keyboardist Alyssa Welker playing with a harder more aggression edge. Singer/guitarist Ashley Stacy turned up the spunk and machismo, surrounded by a bill of heavier bands. They got Down With the Sickness immediately, showing off their Disturbed new creation. They brought out the tranquil Bliss to calm everyone down. While the rain brought floods outside, we got off on a Halestorm inside. They debut new tune Detox and play show set closer Carousel.

The second reps from C-Bus and returning M&L cast mates Amongst Villains brought back the hard driven southern rock sound that kept them coming back. Josh Marshall forsakes his seasonal sweater (bah, hum-bug) switching to denim, and we don’t blame him. They start with the anti-networking anthem Every Bridge Burned then Marshall laid his Henry Rollins singing voice on crowd pleaser Black River Ruin then hits vocal weight on Heavy Is the Crown. My Name In Vain’s Dave Nester helped out behind the kit. They came with mistletoe, warm salted nuts and kisses for everyone.

Overtheory (Samantha Stewart Photography)

Overtheory (Samantha Stewart Photography)

Columbus scene vets Overtheory came to Dayton to spread their version of intellectual hard rock. Slamming bodies forward, they showed McGuffy’s what Alrosa, O’Shecky’s and all other venues ‘up the road’ already knew. Played crowd favorites for new ears Decide, Fatal Flaw, Break and new tune Solution, bassist James Guest, once again managed to not self-decapitate during the set, hard as he may try.

Dayton’s champions of Christ-like metal War Of Change came waving the flag of spiritual warfare high. Birthed early in 2012, they’re following in the hallowed footsteps of Alice in Chains, Pillar, Disciple, Pantera and many other metal warriors. Singer Johnny Baxter came out gas masked, dressed for combat. He’ll make you a believer of the shield and otherwise. Though he resembled a bearded Last Samurai, he charged the stage like a protesting/determined William Wallace ready to take a few souls to a better place. He pulled the best Lajon Witherspoon out of his throat for the bass-groovin opener Our Allegiance, singing out a loud battle cry for all our brave men and women fighting for our freedom. We’re put into the stranglehold of a Stronghold. They played the crimson Sabbath for U2 and on any given Bloody Sunday. Hero is about the ministry, death and resurrection of Jesus. When the devil delivers temptation and brings the evil, This Means War. Speaking of temptation, Baxter also confessed to being a 20 year A-Z recovering addict, heroin bringing him to his knees during the last two. Finding God during a 2 year prison sentence and released in May 2010, he’s been clean for three years and three months, as he loudly, triumphantly proclaimed ‘yes, HE is real.’ They finish, filing a biblical Chapter 13 on Revelations refusing to be marked by the beast.

Avenue Sky (Mike Ritchie)

Avenue Sky (Mike Ritchie)

Back from Flint Michigan, Avenue Sky returned with new material and some familiar favorites. It’s another ‘show of a lifetime’ and was the return of the Day of the Intruder for these hard rock melody makers. What We Seek takes a hard thumpin sound of Disturbed with some metal-core screams slide-fingering into some nice metal rhythms.  The slow but heavy beginning melody of Pattern of Descent took us ‘down there’, picking up some meaty riffs on the way below. They slowed it down (a little) with the speed of Dragonflies, playing rock that could blow out most coffee house windows. They paid tribute to the Deftones with the dreamlike eerie Passenger car ride with Matt from In The Cut. They also paid tribute to Iron Maiden on the opening riff of Don’t Make Waves.  Avenue Sky incorporates hard rock melodies, with loud, heavy riffs borrowing from both metal-core and NWOBHM bands creating a distinct musical hybrid of Lamb of God, Disturbed and Deftones.

In the Cut (Mike Ritchie)

In the Cut (Mike Ritchie)

Event MC’s In the Cut took the stage to the late night devoted standees. The Xmas Aftermath intro played signaling in the hellaciously happy holiday season and maybe taking a piece from the Trans-Siberian Orchestra. Opening up Wasted, they played two new tunes but there’s Dust on the lyrics sheet as DeDoncker multi-tasks. They go six degrees of Kevin Bacon on Tremors. They got the Eye of the Tiger for Rocky IV displaying a profound love for 80’s training montages with the song they ripped off/wrote No Easy Way Out. F-Drago! Apollo lives and comes back as a robot to fight later (it was past midnight and past a few drinks). Until the End came off the new CD, a fun fan sing-along. In the words of hand-written guitar slogans everywhere, lettuce faq and Cross the Rubicon. Also from the new CD, Our Hearts Our Fire followed by dark ballad If Tomorrow Never Comes. DeDoncker took a minute as the set progressed to introduce/serenade the family matriarch as Mrs. DeDoncker had the best seat in the house. The next tune they wrote in the 70’s and sold it to a little known band (at the time) called Journey. Then they went their Separate Ways. They’re headlining the fourth Moshpit & Lighters show and thankfully no one Left Bleeding. Some of their shows have been known to Break personal-space boundaries. They reminded us we’re all imperfect mortals trying our best to walk the right path From Eden to Exile. They finished the fourth M&L with some loving Hatred Divine encoring with an old-school tune all about Love.

Filed Under: Dayton Music Tagged With: Dayton Music, McGuffys House of Rock, Reviews

REVIEW: Bobaflex Plays Black Friday

January 8, 2014 By Mike Ritchie Leave a Comment

Bobaflex on stage at McGuffy's (Niki Forte Photography)

Bobaflex on stage at McGuffy’s (Niki Forte Photography)

Bobaflex is West Virginia’s answer to the finest cut high-octane spit and shine hillbilly rock this side of the rolling river. They came, played, kicked ass and left. They also braved to play on the one day where the rough, riotous crowds and moshpits were more dangerous at any given retail giant than at any sophisticated metal show. Where the fights draw blood, especially with high-heels and the deal/discount diving shoppers have less mercy than angry drunks in a Slayer pit (concert goers at least have the common courtesy to help each other up when they go down before the mauling). They came to Dayton on the blackest of days and the only Friday more infamous and violent than the 13th.

McGuffy’s  will compensate you, if no one survives Black Friday, Bobaflex. Luckily plenty of people did and showed up for a raucous good time. ViFolly braved the Dayton traffic along with returning Columbus artists Xfactor1 and Dayton’s own Black Cloud Syndrome.

Xfactor1 (Niki Forte Photography)

Xfactor1 (Niki Forte Photography)

Making their first appearance since Halloween, the out of costume Xfactor1 returned with seven songs that would make great stocking crushers for all the little naughty elves in the family. In Gibson and sunglasses we trust, however QBall just doesn’t look the same without the bloody surgical scrubs, though he performs with the passion of a natural born killer. They open with It’s My Life, because without girls, there’s no guys. Over and Out is more than CB talk, it’s a deep, emotionally played, melodious tune with tone and feeling. QBall pulls out Scott Stapps voice giving it a darker, harder Vedder edge. The light will follow even if they Paint It Black. Who doesn’t wanna be like a Rolling Stone?

The day after Thanksgiving’s the biggest shopping/party day of the year. Time to Live Another Day and find a way to survive. The next song’s about pulling the best part of yourself out and being that person every day because we must believe in ourselves and have Hope For Tomorrow. Whatever technology and industry brings, they can’t tear us away from our humanity or Break You down because no matter how much convenience comes, real-life hard work and passion cannot be faked. They break out Rock on the Range tune Never Live then get a little extra ‘exercise’ putting some metal thumpin power behind the Stroke. Peace love and alcohol.

ViFolly (Niki Forte Photography)

ViFolly (Niki Forte Photography)

Straight from Eaton/New Lebanon/Cincinnati, ViFolly bring an impressive resume to the stage: recording music for Bret Michaels’ Rock of Love: Bus and Rock of Love alumni Taya Parker. They’ve also played live at MMA fights in Cleveland and there’s talk about future fights in other states as well.

All songs are written, recorded and pre-produced by ViFolly in their recording studio in Eaton Ohio.  They’ve worked with Bon Jovi’s producer Fab Dupont and will be releasing a new record in March with Dupont at the helm. Playing over 100 shows in 20 states in 2011, they’ve opened for Seven Dust, Jackyl, Drowning Pool, Sick Puppies, Tantric, 60 date tour with Hawthorne Heights, Saliva, members of (Molly Hatchet, Black Foot and Lynrd Skynrd) and the list goes on.

They take a rock sound inserting high, sometimes frantic notes giving an unsettling, melancholy feeling to the music with a mixture of Bush vocals and Tool tones. The guitar whistle’s the opening of Kettle Doll then the guitars go nuts on Crazy. Sweet Revenge has those weird notes, sweating off sanity. The seven minute opus Feathers starts swimming in guitar tranquility, turning up the rock with haunting harmonies, singing us a wicked little nursery rhyme Opeth style. Under scarlet lights we feel the Burn as dreamlike, nightmarish notes escape the stage. They also play tracks from the upcoming CD, All For Nothing and Heaven Help Me. Finishing as King(s) of the Castle, they’ve taken the dark side of the Beach Boys, and adding some of that haunting calm Opeth charm.

Black Cloud Syndrome (Niki Forte Photography)

Black Cloud Syndrome (Niki Forte Photography)

Black Cloud Syndrome brings the heavy hard rasp of Shannon’s Bobby Blitz meets David Draiman with R Lee Ermy commanding vocals. They enjoy their Freedom and love to sing it. Music’s in their blood, have another shot; its 100 proof metal strong; it’s a Revolution Rising. There’s some guitar churning, slow heavy groove in this Never Ending War to Exposure the Truth with some heavy drilling sound. Nobody Rides 4 Free, you have to earn your metal keep. I Am has a disturbing influence as Planet X comes to ya live from the shed to the McGuffy’s stage. They finish with the newest F’n song Stand and Fight!

Bobaflex are supporting their newest CD Charlatans Web, now available, with the first single Bad Man charting at #34 (BDS) and #35 on (Mediabase). CW is their follow up to 2011’s Hell In My Heart featuring stage anthem Bury Me With My Guns On (inspired by The Preacher comic), Chemical Valley and the Simon and Garfunkel inspired Sound of Silence. Formed in 1998, the ‘flex is one of the hardest working bands in the country, the heart and soul of the McCoy brothers, Shaun and Martin, actual descendants of the Hatfield/McCoy legacy. Though their side might’ve lost a few more than the other, anyone who’s seen or heard Bobaflex are the real winners. A historic truce was made between families in the early 2000’s. The band had their share of turmoil when an earlier label went bankrupt losing rights to their name and songs to a bank for a few years. Eventually getting them back, Charlatans Web is a satirical shot at the music industry.

And now a few choice words for a former manager… a mix of George Thorogood, Skynrd, Georgia Satellites, The Ramones and Wasp, Bobaflex emerges bringing the black-leather biker pride to the stage with a road-blistering sound. They’re motor-heads on diesel, steroid dust and gasoline dreams straight from the mind altering, booze guzzling Chemical Valley. They keep the loaded ride flowing and going swerving down the disillusioned road of the Low Life.  We take a hit from the chemical valley one more time and Rise to the occasion with a loud battle cry, we’re not one of your kind. Better Than Me is visited from Apologize For Nothing. For all the online stalkers and voyeurs who love getting their sick-fix through the webcast feed, Pretty Little Things is your sweet unfiltered cyberspace song of fantasy, for a fee.

Bobaflex (Niki Forte Photography)

Bobaflex (Niki Forte Photography)

The next single from Charlatans Web, the excessively happy, sick, twisted, conniving glee of I’m Glad You’re Dead, has a nice sing along chorus. Sticking with the dark, decomposing and deadly theme we have a draining visit with the rock n roll Vampire. Life really sucks when you find the wrong succubus that leaches off you. There’s still more sin to indulge in as we get our love-sexy groove on swaggering down the neon lit halls of any said sex club, bottle in hand, working our way into a Slave state of mind, looking for a limber agile pole-rider.

We get down to the bottom of the bottle ready for more dirty behavior with the tambourine shaking, gypsy waltz and some filthy southern brewed blues, playing the Bad Man with the Charlatan watching from above. We get down to back-dirt roads stringed basics singing about Home, where the dream started and the stage, where the dream’s lived.

It’s all about the beautiful sickness we have inside; when we indulge ourselves we lose our minds. We enjoy the peaceful Sound of Silence courtesy of The McCoy’s and Simon and Garfunkel. Charlatan stretches out her treacherous black webbed claws one last time, if you’re entangled, you’ll Never Come Back.  They make their last stand, true outlaw style going out in a blaze of glory, so they can be buried with their guns on. When they get to the other side, they can show what it feels like to die. When they fall from heaven they can shoot the devil right between the eyes, HEY!

Images courtesy of Nikki Forte Photography.

Filed Under: Dayton Music Tagged With: Dayton Music, McGuffys House of Rock, Reviews

REVIEW: Rock On The Range Weekend Sells Out Crew Stadium

August 6, 2013 By Mike Ritchie Leave a Comment

May 17th, 18th and 19th 2013’s Rock on the Range lineup played Columbus’s Crew Stadium to a jammed packed house each night. On three consecutive days the weekend music festival known for bringing in rock, metal and other diverse acts and talent jammed 20,145 hot, sweaty, sunburnt fans into its bleachers and floor for an all-day festival with bands performing on three stages.

Starting as a one day show in 2007 headlined by ZZ Top, Evanescence and Velvet Revolver, Rock on the Range’s success brought a two day show in 2008 featuring the return of Stone Temple Pilots with co-headliners Disturbed on Saturday and Kid Rock/Three Doors Down on Sunday. Since then it has delivered global headliners Slipknot, Alice in Chains, Korn, Motley Crue, Godsmack, Limp Bizkit, Rob Zombie, A Perfect Circle, Marilyn Manson and Megadeth. This year the event expanded to three days to include 50 bands on the Monster Energy Main Stage and the Jagermeister and Pabst Blue Ribbon Stages.

Friday’s first ever opening day included In Flames, Oleander, Mindset Revolution, American Fangs and Xfactor1 on the Jager Stage, with Love and Death, Hollywood Undead, Buck Cherry, Cheap Trick and Korn headlining. Saturday’s Jager Stage had Scorpion Child, Gemini Syndrome. Heavens Basement, Red Line Chemistry and Clutch while the Pabst Stage gave us Young Guns, Otherwise, Motionless in White, Black Veil Brides, Asking Alexandria and a Day to Remember. The Monster Stage played Pop Evil, All That Remains, Grammy Award winning Halestorm, Bullet For My Valentine, Papa Roach, Three Days Grace, Stone Sour and Smashing Pumpkins.

As an added bonus for fans who wanted to piss themselves laughing, the Old Milwaukee Comedy tent hosted stand up from 6pm-8pm featuring Bill Squire, Bob Cook, Big Jay Aokerson, That Metal Show’s Jim Florentine and Ari Shafir on Saturday and Bill Arrundale, Dan Swartwout, Rod Pauletta, Big Jay Oakerson and Jim Florentine on Sunday.

Error 504 (courtesy of Chris A Photography)

Error 504 (courtesy of Chris A Photography)

Sunday brought the weekend’s finale to a crowded, smoldering, loud close. The diversity that ROTR is built on was displayed in full force. Opening the morning’s festivities on the Jager stage was the 2013 Battle for Rock on the Range winners Error 504, who bested 6 other Columbus finalists and 36 other bands collectively to be there. They opened with Give it Away with vocal help from the lovely Miss Kelsey Mayer busting into The Reckoning then delivering the Lil’ Red devil when bassist Jon Banks got temporarily possessed by Satan on the mic. Alex Mayer takes a quick sight-seeing trip on the hot pavement playing the loud welcoming committee everyone came to see.

Atlanta’s O’Brother played a set from their Garden Window and new Disillusion CDs, noise heavy in ambience, effects and delivery. Lo is the opening rocker with hints of The Cure. O’Brother must be heard in the proper Context to be truly appreciated, such as the heavy grinding growling guitars and atmospheric tint of high vocals. Lay Down begins in a tricky sea of guitar sound submergence echoing sounds of whale notes from Johnny Dang’s guitar playing along an eerily calm Robert Smith sounding Tanner Merritt. They get spastically heavy for a few seconds then creepy composure’s restored until the heavy downpour hits and never stops. The next song is full of Perilous Love from a dangerous obsessed mind rocking in a dark corner somewhere. In conclusion, welcome my friends… welcome to The Machines Part I & II, two loud heavy breathing noise mashers. Stormy guitar sounds with a surrealistic melancholy Deftones feel and high pitch cooing to Bush like vocals. They’ll be touring with Native and Daylight through August and September.

Thousand Foot Krutch brought the icy chills from Ontario Toronto to the Columbus stage, letting the sparks fly. They get wicked with the crowd as the human body parts fly, bash around and run into each other. Next, the title track for their new release The End Is Where We Begin. They broke out the War of Change then it was time for the crowd and pit to Move and get a little sweaty kicking a hole in the sky. They have a bad case/habit of turning it up (too loud) so it was time to Fire it Up and excuse them while they Light Up The Sky.

Sacramento’s Middle Class Rut played some multi- dimensional tunes for fans unaccustomed to what a duo should be able to pull off, so they brought the band too. Zack Lopez poured out some Perry Farrell throated vocals singing about dear Aunt Betty then took things to a New Low. They’re busy touring and Busy Being Born into the scene. Then started the road race playing Alive or Dead from the Need for Speed: The Run soundtrack.

Ghost (courtesy of Chris A Photography)

Ghost (courtesy of Chris A Photography)

Deuce finished the day’s Jager fueled lineup playing a combination of rock, rap and Linkin Park meets Iggy Pop.  The former voice of Hollywood Undead opened with the Undead, then got the crowd Crackin, just like Mr. Cooper, Nobody Likes him either. He plays theater putting on the masked face revealing two sides to his ultra-ego, finishing with his tribute to America.

Popping open the Pabst Stage was Ontario’s Big Wreck playing some imported Northern hard rock starting with Inhale.  Ian Thornly brings out the Chris Cornel vox on Albatross.  Fans go oh yeah it’s That Song,  Thornly brings out the fast note swinging blues on Come Again, and a space aged solo from The Oaf.

Next straight from the dirty south of Nashville comes Red. They already spray painted and tagged the stage red, white and every other color, later on the whole f’n town. They Feed The moshing Machine with a speed limit of no less than 40 as everyone bounces to the Perfect Life. Fists pound on Let Go and Die For You, many Rangers used the mosh pits as a great way to Release The Panic of a large crowd environment. And the song that started it all was playing through the flames of Breathe Into Me.

Ghost (courtesy of Jessica Rhoades)

Ghost (courtesy of Jessica Rhoads)

Next the dark, unholy byproduct of a satanic blood orgy of black magic and carnal knowledge between King Diamond, Skeletor, Lilith and Anton LaVey. Now ladies and gentleman straight from the church burning chapels of Norway comes the new black pope incarnate. Papa Emeritus II emerged fully robed in his favorite Sunday papal blasphemy, his evil face painted skeletal worship blessed the crowd as Ghost took the stage with the Nameless Ghouls/Darth Vader Monks playing in black with eyes wide shut as the masked ball began. The church of the undead came to order as his disgrace Emeritus lead the congregation in a damned celebration spreading the foul stenched musical incense starting with sophomore set title track Infestissumam continuing into Per Aspera Ad Inferi. The biggest question when seeing Ghost isn’t particularly what’s under the robe or even WTF? The greatest corpse painted mystery of the proud Papa may be who’s under the robe, and despite speculation it’s not King Diamond or Mikael Akerfeldt. We join the Con Clavi Con Dio under the sign of the burning hot sun sealing our own Merciful Fate. We are witnesses of the lords of the dark arts proclaiming 2013 as Year Zero as Papa sings the praises of his evil eternal inflamed patriarch. Emeritus’s vocals are in the style of a blood coven sacrifice between Akerfeldt, Diamond, BOC’s Donald Roeser and Weird Al, slow, soft, soothing, calm with an unassuming serpents tongue delivery. The Ritual continues as rotting, wrenched bodies are stacked up neatly in the pit. The Monstrance Clock ticks down to the end of today’s show.

In This Moment (courtesy of Chris A Photography)

In This Moment (courtesy of Chris A Photography)

Now time for one of the day’s most anticipated moments. Blonde tantalizing temptress Maria Brink standing tall above her baby-dolled mount grabs her skull headed polls, offers us a healthy dose of first aid after tasting the half eaten apple of temptation rising with her as she brings us In This Moment. We’re instantly adrenalized and addicted to this by her seductive wail hitting us with a Blazin hot-shot stream of her refreshing cool steam. The sirens roar as she mounts her disciplined stool, the hottest dunce in school. Ready to dish out wanted punishment to every hot sweaty Whore in the audience desperately crowd surfing their way to earn a few whacks. Afterwards it was time to Burn as our lovely angelic nurse spreads her white satin wings to the heavens offering up her tortured embrace as she unleashes the Beast Within with the help of a curious silly rabbit. Then it was time for the Blood to flow through our veins, we love her for all the things she does to us.

It was time to pay a heavy Penance with the very disturbing David Draiman’s new other worldly Device. You Think You Know what reality is, think again as the thunderous guitar hits. Draiman, Evanascence’s Will Hunt and Dope’s guitarist Virus have brought the hard-rock, industrial, electronica cyber vision to life on stage, where they’re immersed in the live performance Haze. They create another incredible moment bringing Maria Brink back out to duet on monster 80’s ballad Close My Eyes Forever. Though there’s only one Ozzy and Lita, Draiman’s high pitch and Brink’s husky exhales put a unique spin and twist on the classic tune. They have vilified themselves through life, music and moving forward. They close with a wishful homage to one of the forefathers of the industrial scene.

Sick Puppies (courtesy of Chris A Photography)

Sick Puppies (courtesy of Chris A Photography)

The holy Lamb of God is offered up as freedom loving citizen Randy Blythe brings the Desolation to Columbus and the pit begins. L.O.G. encourages everyone to Walk With them In Hell and with the heat, sweat and perpetual performance pits, the Crew Stadium bares a hellish resemblance to the dark underground lair. Now that we’re all Set to Fail Now we’ve Got Something To Die For. Blythe’s gravel throated luciferian shriek hammers the crowd into high physical praise. Before orchestrating the circle pit Blythe announces ‘You are at Rock on the Range, you are watching Lamb of God, obviously you’re just a bunch of Rednecks.’ The final song brings the infamous wall of death where sweaty, nasty flesh and bone collide face to face.

Opening the Monster Energy Main Stage was the Aussie www.facebook.com/sickpuppies via LA and they came ready to bring a War and start the anatomical stadium body Riptide. Our ears are blessed by Emma Anzai’s voice on Die To Save You. The next one’s for all the hard drinking Odd Ones in the crowd, namely everyone, including the off duty Spiderman. Shimon Moore brought thousands together with hands on shoulders rocking the stadium floor with Nothing Really Matters. They finish with crowd pleaser You’re Going Down.

Atlanta’s Sevendust emerged with Lajon Witherspoon live, ripe and ready for Decay. They get the party going as the steam poured from the stage giving the audience high Praise. Witherspoon intro’s a new song from Black Out The Sun called Till Death but makes sure the crowd really wants to hear it. Next they get their pound of flesh turning the audience into Pieces. Sevendust has definitely arrived in Columbus and they weren’t leaving until they gave Crew Stadium the ultimate Face To Face experience. Just don’t be f’n with his head and leavin.

Steel Panther (photo by Chris A Photography)

Steel Panther (photo by Chris A Photography)

Next up the recent 80’s throwback to when spandex, hairspray and macho makeup ruled the sunset strip with a tight spandex, leppard skinned rocker/power ballad power-punch. Steel Dragons distant cousins and Motley Crue’s illegitimate children from the Ratt infested streets of Hollywood, Steel Panther. The pseudo autobiographical comically parody laced foursome dipped in Poison and Aquanet are indeed a true Cinderella story. The Panther comes out to prowl eyes hungry stalking its prey. Today was Rock on the Range for the 2013 80’s rockers but they’re going to an X-rated party Tomorrow Night. Now for the most important question of the day from Michael Starr, are you ready to f’n rock? Are you ready to do….. unspeakable, unprintable, unmentionable, indigestible things to cute furry cats? What other band can freely open up to an audience of twenty thousand people about their sex life and smile doing it? He also behaved himself within reason for the most part never unleashing the Whitesnake. Guitarist Satchel shows off his prowess playing almost as fast as Eddie Van Halen and he can almost play the beginning of Jessie’s Girl too. While Satchel sacks the crowd with his between song monologue bassist Lexxi Foxx busies himself at the front house/front stage hand held makeup cabinet before mugging for the audience making sweet sweet rhythm of love to the camera. He looks great…. from a distance. Stix Zadinia is so fast on drums his hand is half Asian and Asian Hookers make the best working girls in today’s rough, global cash strapped, multi-corporate, consumerist, digital, online, information is money, up to the minute, high def, Youtube, Tweeting, marketing society. Next up, the fun high energy sing along, synchronized head-banging of Just Like Tiger Woods. For those who haven’t seen Steel Panther before, for those that like going to the zoo and those planning on never seeing Steel Panther again this next song went triple platinum, in Guam where they’re treated as home coming hero’s and mobbed in the streets. It was their first video in Tahiti as well. This is their love song because their hearts belong to you but their (text omitted) are Community Property. Historically this was the lighter ballad but since it was 2:30 in the afternoon in an open air stadium nobody bothered. But we still sang along, arm in arm in the sweet emotion of the moment. Next song is dedicated to everyone that loves strip-joints and copulating with dancers in the bathroom. He’ll say one thing; Starr loves heavy metal more than he loves eating freakin….p-pizza. Rockstar prowess goes back for decades but only one band can claim 17 Girls in a Row. In closing f- Britney Spears, f-Mariah Carey cause it’s Death To All But Metal! Steel Panther thanks you for coming but they gotta go, 1988 called and they want their band back.

Skillet (photo by Chris A Photography)

Skillet (photo by Chris A Photography)

Those gospel defending/sharing mainstream rockers from the Tennessee Bible Belt open their show greeting the crowd and whatever Alien Youth happen to be surfing in the sun with some Whispers in the Dark. Including two drenched in white masked men masquerading as violinists. The world needs a Hero and with steam bellowing from everywhere Skillet delivers one. A war for your soul is being waged everyday by people who try and tell you what to think and do but Skillet believes in the gospel and are very much Awake and Alive and willing to play on top of long towering moving pillars stretching toward the heavens to prove it because here right now, they’ll do what they wanna do. Next is the title track to their upcoming release Rise. Then they appease all the crazies in the psycho circus crowd with something even better for the slightly twisted, insane makeup loving clown sideshow freak, a Circus For A Psycho. With all the crazies wandering around it was time to unleash the Monster. They finish with a beautifully loud Rebirth and hopefully saved a few souls in the process.

Ladies and gentleman Elvis has left the building, but there’s some good news, uh-huh, the kings of Danish Graceland where Elvis and Johnny Cash meet Metallica and Slayer, Volbeat just got here. They open today’s show with A Warriors Call, roaring down 1-70 with Guitar Gangsters and Cadillac Blood dripping on the concrete. Hallelujah Goat answers what a collaboration between a sped up in shape Elvis and Black Sabbath would sound like. They pay tribute to the man in black playing Ring of Fire spitting from the Sadman’s Tongue jazzing it up with some rockabilly fast metal playin’.  This one’s for all the Johnny ‘Walkers’ out there Dead But Rising. Miss Lola Montez the shady lady herself makes an appearance.  Slayer’s Jeff Hanneman was honored with a short summer rain of blood before The Hangman’s Body Count began. We’re 11 songs into the set and we’re Still Counting floating bodies and spontaneously opening pits. By the time Volbeat was done and the Rock on the Range weekend concluded there’d be a Pool of Booze and more booze, sweat, tears and many other internal liquids swirling in a Molotov Cocktail cesspool rainbow for some unlucky souls to clean up.

Bush (courtesy of Chris A Photography)

Bush (courtesy of Chris A Photography)

Gavin Rossdale and the boys of Bush stopped by making sure all were nice and zen as the sun slowly descended starting the Machinehead fueled on Testosterone, not that there was any shortage at all. Though it was officially evening in mid- May and still pretty damn hot they brought us The Sound of Winter so Everything’s Zen. New track Loneliness is a Killer was greeted with enthusiasm. It was time to break out the Beatles and Come Together…. with the crowd, literary. A minute in Rossdale jumped stage running for the stands and brought the music to the people, in droves, covering almost half the bleachers on the crowds left side. Luckily he didn’t get the Beatlemania mob experience or he wouldn’t have made it back for the Little Things that kill. The opening riff to Glycerine got the shows biggest pop finishing with the Come Down.

It was time for the co-headliners and the evening’s first dose of Seattle grunge minus the rain. As if the pit hadn’t done enough damage to thousands of limbs Alice in Chains came out to rattle Them Bones. Cantrell and Co did their best to playfully Dam That River of humanity slowly moving towards them. Their set was a complete, comprehensive collection of classics, hits and new stuff. They kept the crowd happy Again and again and again. Though there weren’t any angry chairs around a wheelchair or two got some crowd surf time. They play the evening’s first two tracks from the William Duvall era Check My Brain and Your Decision from 2009’s comeback after 14 years Black Gives Way to Blue. Opening track from their newest The Devil Put Dinosaurs Here, Hollow got good reaction. It was time to go old-school and get on old fashion deadly Facelift and Die Young, then slow it down, get nice, cool, calm and mellow Down In A Hole trapped like a Nutshell. The Dinosaurs make another post historic appearance on Stone, there’s No Excuses not to know they saved the best for last. If I could Would you? Man in the Box got a stadium sing along and rightfully so, besides they’ve all come to stuff the Rooster.

Soundgarden (courtesy of Chris A Photography)

Soundgarden (courtesy of Chris A Photography)

As night fell the day’s headliners and final closing performance of the weekend Seattle’s Soundgarden opened with the blossoming soft petals of the vain, soon to be fading Flower. It was time to Outshine the crowd with some California looks and Minnesota feelings. Then whip out their best Jesus Christ Pose backhanding the pomposity of certain religious types trying to rule over the moral majority in their fashion. They played the song that got them signed, ironically called Hunted Down. Not to be outdone by a stadium full of Rangers they loudly start their own wave on stage. Next the opening track from last year’s King Animal, Been Away Too Long, most fans would agree. We visit the Superunknown with the Mailman on a journey stretching like a rubber-band getting tighter and tighter and tighter…. They Blow Up The Outside World because nothing else mattered besides what was happening in Crew Stadium that night, bring on the black days. Giving the crowd the Badmotorfinger they pulled out the Rusty Cage then introduced the Spoonman from Seattle. It was time for the Black Hole Sun scorched crowd to break out the Chelsea grins and contorted smiles. They finish the night with the Ultramega OK Incessant Mace.

Rock on the Range 2013 delivered. Now the wait begins to see what’s in store for next summer.

Ghost setlist and photo without scepter courtesy of Jessica Rhoades and www.facebook.com/JrPhotographyInc.  All other photos courtesy of www.facebook.com/ChrisAPhotography and http://www.chrisaphotography.com.

Filed Under: Dayton Music Tagged With: Dayton Music, Reviews

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