Photos of The Holdup at the Catalyst Club in Santa Cruz, CA. Show was sold out and the place was packed, which is probably was like a sauna in there. Enjoy!

www.dubrockrecords.com
Click here for slideshow.

Photos and Written by: James Kelly

“It’s just a facade”, God Forbid vocalist Byron Davis told me in a brief encounter after their set. I was walking up to the merch counter in search of a God Forbid tee shirt to make my own as I seen him resting to the side, with a towel over his head, worn out and tired like any other hard working human being after a strenuous day on the job. Waiting until a couple of others moved on, I approached him and told him how great I thought the set was and how nervous I was about even approaching him the in the first place. That’s when he proclaimed that the rock star image is “just a facade” and that he and the rest of his band are just normal people like the rest of us. I took a quick picture with him, again told him how much I enjoyed the band’s set and thanked him for dedicating an ounce of time to just another surprised and starstruck fan.

I suppose I should have known that Davis and the rest of God Forbid are just normal folk. Sure, the band makes music that is heard by the masses, but it has always seemed that God Forbid is a down-to-earth group of musicians that shares a perpetual goal of making kickass music to be delivered to the fans without any sort of self-importance or cancerous ego – a characteristic which seemed to ring true about all of the bands that played the Troc on Friday night. However, while taking in a performance of a band of this caliber, it is easy to get lost in an inevitable haze of stupefying head-banging fist-pumping metal awesomeness. Such was the case on Friday April 20th at the Trocadero Theater in Philadelphia when God Forbid (and four other bands) supported legendary thrash band Overkill on the first date of the Killfest 2012 tour.

I have never been a diehard God Forbid fan but I have always appreciated their ability to blend smart and melodic metal with classic skull-crushing metal. As I expected, they did not disappoint. As soon as vocalist Byron Davis set foot on stage, the crowd erupted in frenzy – a fire constantly stoked by Davis’ focus on the fans, which was a trend that ran throughout the rest of the band. More than all of the other bands, God Forbid made their set feel like an interactive and communicative experience between the fans and the band which made fists easier to raise and heads easier to bang. God Forbid has the ability to play metal that truly beats along with your heart and through your veins which is a perfect characteristic for a band to have when playing live. The band combined new songs off of their latest album “Equilibrium” with some older stuff in a set which was obviously and disappointingly cut short.

Killfest was kicked off by The Last Remark, a local thrash band out of Philly. They claim to have “the intensity of Metallica and the flash of Aerosmith”. I guess this is certainly the case since they ripped through their own version of one of Metallica’s “threadiest” classics “Whiplash” and the fact that bassist Ray Figueroa rocked a dapper pair of what seemed to be spandex pants. The Last Remark is indeed a blend of face-melting speed metal and dash of flash and attitude in the vein of Mötley Crüe.

Following The Last Remark was Givethemrope, another local band out of the Philadelphia area. Givethemrope, to put it simply, is an intense band. Not just metal concert intense, but also “Get out of my way or I’ll kick you in the throat” intense. Vocalist Rich Brooks had, at times, a frightening stage presence. He wasn’t rocking corpse paint, tearing bibles, or spitting blood, he was simply yelling into the souls of every spectator before him all the while cracking beers in between songs. Givethemrope reminded me a lot of metal giants Lamb of God, not necessarily in musical prowess but more so in the band’s collective behavior up on stage. They weren’t posturing or posing, they played their harsh groove-metal set with every ounce of energy they could muster with an in-your-face hardcore edge.

Next was Diamond Plate, a Chicago thrash band that made a 15 hour drive to Philly for the show. The drive was worth it. Diamond Plate was perhaps the most exciting band on the bill – not because they were that much better than any of the other bands, but it seemed that they had “it”, and in no time they could be one of the most popular young metal bands in the world. Of course, that’s only one person’s opinion, but their set was enough to convince me that Diamond Plate could easily be a big name band. They were fun, young, and energetic and were cranking out the sweet sounds of pure breakdown-free thrash metal. Diamond Plate was followed by SuidAkrA, a veteran melodic folk Celtic death metal band out of Germany. SuidAkrA has been putting out music for the better part of twenty years which comes as a surprise to me. They, continuing the trend of Killfest in fine fashion, played another fantastic and engaging set. Well, at least fantastic and engaging enough for this metal Viking.

Last, but certainly not least, was Overkill, the “forgotten thrash band” if you will. For whatever reason, Overkill never seems to be placed upon the same pedestal as the usual suspects of early thrash metal. Although not in the Bay Area, they were of course one of the original big thrash bands to emerge in the early 80′s. However, I’m not sure this ignored reputation is at all deserved. Overkill emerged after God Forbid’s set with the youthful vigor of a band just starting out. These guys are in their fifties. I can only imagine what their shows were like in their twenties. Comparing them to what I’ve seen recently from Metallica, Slayer, and Megadeth, Overkill’s performance seemed honest, inspired, and not at all dull or boring. In fact, their set was one of the most fun sets I’ve ever seen in no small part due to Bobby “Blitz” Ellsworth’s maniac front-man persona which held the attention of anyone focusing their sight anywhere near the stage. Not as though Overkill needed it, but the light presentation during their set was also quite awesome. It was fast, hyperactive, and added an extra bit of excellence to a most excellent set.

The Killfest 2012 tour is shaping up to be one of the best and most underrated tours of the spring, based solely on a sick first show. From top to bottom, it was one of the most enjoyable concerts I have ever experienced and each band seemed to build the momentum more and more until Overkill kicked ultimate ass and iced the proverbial cake. From the smaller bands on the bill – just starting out, to main draws God Forbid and Overkill, each band is worth seeing live or at least giving a listen to. The whole “rock star image” may be a facade, but the abilities of each band on this bill are not. Go, bang your head, and see for yourself. The tour continues across the United States throughout April and May.

Victory Records
Overkill official site
God Forbid Official
www.suidakra.com
www.diamondplateband.com
www.facebook.com/thelastremark
www.thetroc.com

Stubble sat down to Buzz Osbourne of the legendary Melvins before their sold out show at the Blank Club in San Jose California. Kicking off their spring US tour in support of new EP “The Bulls and The Bees” which is FREE to download or listen to over at Scion A/V.

Click here for Photo Slideshow

http://themelvins.net/

http://scionav.com/collection/917/The-Melvins—The-Bulls–The-Bees

Foxy Shazam is your new favorite band. No seriously they are you just don’t know it yet and if you weren’t able to catch them on their last tour with the Darkness or Panic at the Disco then you are in luck. ‘The Tabernacle Tour 2012′ in support of new release “The Church of Rock n Roll” (2012 IRS Records) kicks off on March 24th in Allentown PA and trust me you do not want to miss this show. Seriously this is one of the most entertaining live bands I have ever seen so get off your ass and check them out.

Foxy Shazam Interview at Warped Tour click here

Check out Stubble’s interview with Foxy Shazam at the Van’s Warped tour here

3/24 Allentown, PA @ Crocodile Rock Café
3/25 Philadelphia, PA @ North Star Bar
3/26 Pawtucket, RI @ The Met
3/27 Brooklyn, NY @ Knitting Factory
3/29 Burlington, VT @ Higher Ground
3/30 Albany, NY @ Valentine’s
3/31 Boston, MA @ TT the Bear’s
4/01 Hartford, CT @ Webster Underground
4/03 Rochester, NY @ The Club @ Water Street Music Hall
4/04 Pittsburgh, PA @ Mr. Small’s
4/05 Lansing, MI @ The Loft
4/06 Grand Rapids, MI @ The Intersection
4/07 Chicago, IL @ Subterranean
4/09 Omaha, NE @ Slowdown
4/10 Colorado Springs, CO @ The Black Sheep
4/12 Salt Lake City, UT @ Kilby Court
4/13 Boise, ID @ The Venue
4/14 Seattle, WA @ Vera Project
4/15 Portland, OR @ Branx
4/17 San Francisco, CA @ Rickshaw Stop
4/18 Los Angeles, CA @ The Roxy
4/23 Little Rock, AR @ Juanita’s
4/24 New Orleans, LA @ Tipitina’s
4/25 Atlanta, GA @ Masquerade
4/26 Knoxville, TN @ The Valarium
5/16 New York, NY @ Bowery Ballroom

Foxy Shazam is best served loud and live. The Church of Rock and Roll descended on the Fillmore in San Francisco on Tuesday as main support for The Darkness, returning to the stage after a six year hiatus and their first ever appearance in San Francisco. The pairing of these two bands is pure genius and really no coincidence if you factor in Darkness front-man Justin is the producer of the Foxy’s fourth studio album The Church of Rock Roll released on IRS Records in 2012.

At a Foxy Shazam show there are two types of people those that know and those about to find out, and with this being my second show it was really my first as part of the “congregation”. Opener “Welcome to the Church of Rock n Roll”, got the party started along with cuts from 2010 Foxy Shazam “Oh Lord” and “Killin’ it”, but it was “I Like it” that brought the house down as 2,000 plus sang the chorus line “That’s the biggest black ass I ever seen and I LIKE IT, I LIKE IT”, and we did, we really did. For three minutes we all liked it, a lot. The entire place was chanting “Foxy, Foxy, Foxy” as they left the stage. Initially I was a little disappointed with the short set list but Foxy did not disappoint and put on an incredible show.

Ring leader and lead singer Eric Sean Nally was brilliant with vocals that are only outmatched by his lyrical wit. With the attitude of Bill “The Butcher” and the swagger of Freddie Mercury, Nally masterfully worked the crowd especially when he ate a fist full of lit cigarettes he solicited from the crowd.

Foxy Shazam Setlist:
Welcome to the Church of Rock ‘n Roll
Killin’ It
Oh Lord
Holy Touch
The Temple
I Like It
The Only Way to My Heart

Ghost
“Opus Eponymous”
2011 Metal Blade Records
Written by James Kelly
Photos courtesy of Raymond Ahner

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The current state of metal, purely as a genre of music, is stagnant, at least according to my humble sense of hearing. The dark imagery and sinister lyrical content which gave birth to and perpetually feeds arguably of the most unique “sub-genre” of rock music are still as prevalent as ever. But the music itself, I feel, is in a period of banality and repetitiveness. On the surface, most of the metal being produced and bandied about today seems “extreme” and “original” compared to the other, flimsier, genres of widely popular music, but in reality, it has turned into a boring rat race of who can play the fastest, who can “growl” the loudest, who can write the darkest “lyrics”, who can come up with the coolest three-word band name, and in a sad and recent turn of events, who can wear the tightest pants. Bands, worried more about their hair or album art rather than their sound, are popping up every other day, playing the same tired and fast riffs, pedaling machine gun double-bass, and ruining their vocal chords in a never ending spiral of unoriginality and fear of not being as heavy, as loud, or as fast as all of the other bands. Sure, I can quit whining and go back and listen to metal bands of a different era, but stumbling upon something new, something current, something in just its infant stages that separates itself from the rest of the pack is much more rewarding.

Ghost is on tour in North American in support of Opeth and Mastodon. Click here for tour dates.

So, if you too are tired of metal’s status quo, and are longing for something that’s even slightly coherent and actually able to be, ya’know, listened to, then Ghost may be just what you’ve been searching for. However, all of you conservative Christians may want to think twice before giving them a listen. Ghost is everything over-protective parents thought Kiss was back in the 70′s, but with better music.

Hailing from Sweden, Ghost emerged from the depths of hell to spread the word of the “Uncreator” in 2010 with their debut album “Opus Eponymous”. In all fairness, only 80% of the album contains Satanic lyrics. (The other 20% of songs are instrumental.) Although it debuted fairly quietly, “Opus” is really starting to gather praise after a little more than a year since U.S. release, and deservedly so.

After “Deus Culpa”, a short funeral organ intro which sets the mood for the album and what the band is all about, the album starts rocking immediately with an instant headbang-inducing bass riff from “Con Clavi Con Dio”, one of the heaviest songs on the album which subtle and subliminal first lines are “Lucifer, we are here, for your praise, evil one”. Then comes “Ritual”, the hit of the album, if you will. Ritual is very catchy and upbeat in a Satanic metal band sort of way. Remember those Halloween party scenes in every 80′s horror movie? “Ritual” is the song that would have been playing at the parties if it had existed at the time. It is followed by “Elizabeth” and “Stand by Him”. Like their predecessor, these two tracks are very anthemic and catchy. (Even if they are about Elizabeth Báthory, the most infamous and ruthless female serial killer in history, and, again, Satan) After these two, the album starts getting slower, lower, and more doomful. “Satan Prayer” Death Knell” and “Prime Mover” abandon just about all of the slight pop-metal flavor which speckles the earlier part of the album, instead replacing it with low, slow, and steady riffs (bass and guitar). The wicked debut is topped off with “Genesis” an instrumental track which integrates some amazing keyboard playing with aggressive playing all the way around and a beautifully melodic guitar solo over top. Think something like Metallica’s “Orion” with a dash of Pink Floyd. If you are lucky enough to hear the Japanese version of “Opus Eponymous”, then you will hear an amazing bonus track which adds a creepier presence to an already creepy album. It is probably intimidating covering a Beatles song, even for a Satanic sect of ghouls, but Ghost’s version of the hopeful “Here Comes the Sun” is an entity all on its own. If you read (or listen) between the lines,you will see (or hear) that the intent of the cover was to apply a different Rosemary’s Baby-like meaning to the song, “Here Comes the Son”, pun intended. Ghost succeeds in taking one of the Beatles’ brightest songs and turning it into one of the most ominous songs you will ever hear.

Ghost and “Opus Eponymous” succeed where so many bands today fail for me. They make heavy, fast, and sinister music but make it palatable enough for it to be enjoyed by more than just the modern metal head. It’s not about the speed, the decibel level, or the beastly growls. If you’re looking for something to scream along with or break your neck to, you’re not going to get it with Ghost or this album. From beginning to end, it is heavy, yet extremely catchy, paying homage not only to the dark lord himself, but the great bands which paved the way for metal and rock in general. Papa Emeritus, Ghost’s ghoulish singer, (whose true identity may or may not be known) has a voice that is not common in today’s metal, or even in other genres of rock. It is soft, smooth, medium-pitched and clean. Reminiscent of metal and rock bands in the 70′s and 80′s, his lyrics soar above the music, never going too high or too low, and harmonize beautifully. In a band that does not do too much and puts emphasis on the groove and listenability of the music, Papa’s vocals are a perfect accompaniment and in a time when everybody from your mailman to the grocery store bagboy is a lead singer and lyricist in a metal band, his simple and mellow style adds merit and an eerie sincerity to the dreadful lyrics that are akin tomany metal bands today and of the past.

Like their sound, with their image Ghost plays back to a time when bands did more on stage than just spreading their legs, crouching, and headbanging for ninety minutes. Papa Emeritus, a fixture on the stage, is the only member of moderate recognizability, considering he dawns Catholic Cardinal outfit complete with a skull-painted mask. The rest of the band, however, is a bunch of Nameless Ghouls, literally. All five of them behind Papa hide their identities behind black robes, hoods, and voice modification, allowing not even a slight speculation on their identities. Ghost claims to be a “devil worshiping ministry, that in order to spread its unholy gospels and, furthermore, trick mankind into believing the end is ultimately a good thing, have decided to use the ever so popular rock music medium as a way to achieve their ends” and with the band’s lyrics, this notion certainly seems plausible. The part of me which was attracted to metal as a kid wants to believe so, but the rational side of me knows that this is merely the coolest and most intentionally offensive band persona in years, satirizing metal’s perpetual obsession with evil and bestowing nostalgia upon fans old enough to remember when bands were scary and Satan was…sacred. Either way, whatever you want to believe, the band is kickass and the music is undeniable.

I have not (yet) seen Ghost live but their stage presence and overtly evil presentation seem to be what caught the attention of their fans in the first place. It’s definitely impressive. They will soon kick off a North American tour in support of Opeth and Mastodon, beginning April 4th in Portland, Maine. Ghost has recently stated that a follow-up to “Opus Eponymous” will come out sometime later in 2012. By that time, the band should have a large enough fan base (which already consists of Metallica’s James Hetfield among other notables) to merit a headlining tour. I for one am not ashamed to say that I am comfortably seated upon the Ghost bandwagon to hell.

The Pink Floyd Experience
2/22/2012 @ Electric Factory
Philadelphia, PA
Photos/Review by James Kelly

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The Pink Floyd Experience is currently on tour, check here for tour dates.

Your odds of ever seeing Pink Floyd live again or even for the first time are not very good. Years of legal battle and creative strife have created a world in which the “real” Pink Floyd has not existed in almost thirty years, at least in a literal sense. Sure, David Gilmour may still get out on tour and perform some of your favorite classics as one fourth of the Floyd and of course there is always Roger Waters’ elaborate “Wall” at which to gaze. But with all due respect, is that really a Pink Floyd experience? Also adding to the improbability of a reunion was the 2008 death of keyboardist and original member Richard Wright and the inevitable and continuous process of aging should also be considered. So, you can either spend your time lamenting the fact that you will never have the chance to see Pink Floyd live and in its purest form (like I do), or you can get out and appreciate the myriad of Floyd “cover bands” that exist all over nowadays in an attempt to somehow fill that hole. Definitely worth seeing among these bands is the appropriately-named The Pink Floyd Experience .

Like its name implies, The Pink Floyd Experience is indeed a Pink Floyd experience and not just another ninety minutes of mediocre musicians playing some of your favorite songs at a mediocre level. The music (which you are there for in the first place) is almost outshined by the elaborate Floydian light show by which it is accompanied. Bright colors sure to enhance any acid trip, stream from front and back of the stage, slightly obscuring the band but ultimately enhancing the music. The projection screen behind the band also adds an appropriately trippy element. Flickering images ranging from eyeballs to the all-significant moon add visual depth to the show, rivaling any presentation I’ve ever seen. Also, before the show even starts, the screen behind the stage displays Pink Floyd trivia questions to keep even the most impatient of audiences entertained until showtime. The questions range from the obvious ones which any true Pink Floyd fan should know, to the truly obscure and puzzling. If the lights, projection screen, and fun trivia questions succeed in entertaining you, great, but they pale in comparison to the band itself.

“Cover band” has a negative connotation, and it would be unfair to judge the Pink Floyd Experience (or PFE) solely on them being one. This is a collection of six immensely skilled musicians and although they are not playing their own material, this band is not trying to impersonate the almighty Floyd either in sound or in look. They play Pink Floyd music with energy and more than random precision and in seemingly the unlikeliest of possibilities, they make it their own. The band is led by singer/guitarist Zachary Throne whose stage presence has the ability to make up for a mediocre singing voice; though his singing voice is much better than mediocre. Also fronting the PFE is guitarist/singer Tom Quinn whose veteran presence tacitly implies that he’s probably been playing Pink Floyd music longer than you’ve been listening to it. It is rounded out by John Cox on the keys, Bob Sale on drums, “The Legend” Gus Beaudoin on bass, and Jesse Molloy on saxophone/guitar whose killer sax solos just may have stolen the show.

On the current tour, the band is beginning each show with Floyd’s classic “Wish You Were Here” in its entirety, and their performance at Philly’s Electric Factory showed why this was an excellent decision. Opening with the Syd Barrett tribute “Shine on You Crazy Diamond pt. 1″ is no easy task to say the least, but their precise execution of the over thirteen minute epic set the tone for the entire show. The PFE’s faithful yet refreshing set continued with the rest of the 1975 album before a brief intermission. After the intermission, the band rocked out their own versions of more instantly recognizable tunes such as “Time” and “Money” off of “The Dark Side of the Moon” and “Comfortably Numb” and “Hey You” off of “The Wall” respectively. However, the longer and more obscure Pink Floyd epics are what made the show for me. After veteran bassist Beaudoin’s touching shoutout to late original Pink Floyd members Syd Barrett and Richard Wright, the band performed “Astronomy Domine”, an early cut off of Floyd’s super-psychedelic debut “Piper at the Gates of Dawn”. A slightly condensed version of the over twenty minute ethereal “Echoes” and the infamous instrumental threat “One of These Days” from 1971′s “Meddle” followed shortly thereafter. The show came to an end with a fusion of two “Wall” perennials, “Run Like Hell” and the song you’ve heard a billion times “Another Brick in the Wall pt. 2″. Energetic Crowd participation on the infamous “We don’t need no education” made up for the fact that no Pink Floyd fan should ever want to hear that song again and ultimately ended the show on an upbeat note.

thePinkFloydExperience.com

G. Love & Special Sauce
Garrett Dutton aka G. Love
10/29/2011 @ The Electric Factory
Philadelphia, PA
By Jeff Longo
Alicia Longo
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Stubble caught up with G. Love & Special Sauce front man Garrett Dutton aka G. Love at the Electric Factory in Philadelphia on the last stop of their fall tour. We discuss the new album “Fixin’ to Die” (2011 Brushfire Records), 2012 winter US tour, the Occupy movement, and his new line of traditional Louisiana Hot Sauce: G.Love’s Special Sauce.

Click here for G.Love & Special Sauce TOUR DATES.

Click Here – Photo slideshow on Flickr

Stubble: You guys are wrapping up your fall tour right now, supporting your eleventh studio album, “Fixin’ to Die”. How are the fans receiving it?
G.Love: It’s been a good run for us, the record has been a real return to my roots as a blues player, a coffee shop musician, street musician. It’s really felt like a second chance to make a first record again you know, because a lot of the material is material I was working on kinda before I even met the band and um kinda stumbled on mixing and hip hop and blues. I was more of blues player and when I first started writing songs I was into a lot of folk music, Bob Dylan and music like that. This record, “Fixin to Die”, is kinda like that side of my music, kinda like the predecessor of the G.Love and Special Sauce records.

Stubble: You have eleven albums before you actually threw a cover on there…
G.Love: Yep there are four covers on the record: Paul Simon’s “50 ways to leave your lover”, “Fixin’ to Die” the title track is an old blues song by Booker T. Washington ‘Bukka’ White, there’s another one called ‘You’ve got to die’ which is a Blind Willy McTell song, and then a Velvet Underground cover called “Pale Blue Eyes”. So basically I never put out any covers, but once we decided we were going to go in a blues direction I said well let me put some of this material that I’ve had in my repertoire for long time like “Fixin’ to Die”, then we said if we’re going to open the door doing some of our own renditions lets do a hit so we choose ’50 ways to leave your lover’. If you’re going to approach someone else’s tune just make sure you put own stamp on it and I feel like we were able to do that with everything we approached.

Stubble: So what can we expect tonight at the Halloween Hootenanny? You guys going to be coming out dressed like Kiss or the Wizard of Oz maybe?
G.Love: No, no, but yeah we will have a little costumes going, it should be fun. Musically, what we’ve been doing is taking a musical journey, we kinda start with the new record which is more delta blues and we start acoustic and then kinda ramp up into working through some of our older records. We’ve been doing a pretty classic show right now I feel like a lot of old school stuff. Coming home and playing Philly is always been like this big thing you know, it’s kinda aggravating in a way. Sometimes you just want to be in a town where you don’t know anybody and there’s not some big thing, just playing your music and that’s basically what we want to do every night. It doesn’t matter where we are, who’s watching, just go up play the music. That being said like there’s definitely that home town pride and you want to put on the best show possible for the home town crowd and then you have a lot of people you grew up with…

Stubble: What’s coming up in 2012 what can we expect?
G.Love: We’ll be touring in January, February, and March and that will kinda be continuing touring “Fixin’ to Die” and at the same time we’ll looking to work on a new record in the beginning of the year.

Stubble: What’s up with the Occupy Movement, do you support that?
G.Love: Yeah actually I sent a shout out to them on the radio today. I’ve been talking a lot about that with my Dad and I think you have the have and have nots in our society, in any society and I think after the last ten years the economy has been in the pits so bad and there’s a lot more people that have not and want more. They see a lot of injustice with the way the government is set up and the taxation of the rich versus the taxation of the poor and I think there are generally unsatisfied group of people are coming together, being together and demanding someone acknowledge them and hopefully pass some legislation that changes…I think it comes down to the taxation of the very, very wealthy and they would like to see those people taxed more. I saw on CNN one of the placards that kind of summed up for one newscaster, a young person was out there and they’re placard was like “I have $70,000 in college loan debts and I have no medical insurance and I work full time and make $20,000 a year, where’s my bailout?”

Stubble: Cool
G.Love: The other thing we got going on besides the music right now is the G.Love’s and Special Hot Sauce. So make sure you get a chance to go on GlovesHotSauce.com or Philadelphonic.com and you can get you G.Love and Special Hot Sauce.

Stubble: Speaking of which didn’t you have a cooking show with your wife (Sarah Rabby Frigo) that got shelved or is coming out soon?
G.Love: We actually did shop cooking show for awhile but it’s not happenin’ but the hot sauce is happenin’ that’s why we’re talking about the hot sauce.

Brushfire Records – Order “Fixin’ to Die” -Click Here
Official Site - Philadelphonic.com/
G-Loves Special Hot Sauce – Click Here