Slipknot Kick Off Summer's Last Stand in West Palm

SATAN!!!

I first heard Slipknot when "Duality" came out back in 2004. I instantly loved the dynamics of that song. The way it went from heavy to beautifully melodious and back. The insane drumming. It was perfect. The album, Vol. 3: The Subliminal Verses, was even better and made me get into the rest of their stuff, including the much heavier previous albums. There was something ominous about them that went beyond the masks. The darkness of their world view was not rooted in the occult. It was every day hate and anger, in many cases turned inward. This was a somehow different breed of metal than I grew up with and while it likely served the same purpose of letting off steam, the fact that the themes were so real made it seem like it was a fine line between dissipating violence and encouraging it. But that danger, that razor's edge, is exactly what makes it something of importance and something special. So all these years later, when Carlos* mentioned going to see them, I was a little scared.

There were like 4 bands playing at the Coral Sky Amphitheater in West Palm. It was the first show of the Summer's Last Stand Tour. While I'd heard of the other bands, I wasn't really interested in them so we didn't plan to get there until Slipknot was about to play. We did, however catch about 3 songs from Lamb of God, which I guess are a big deal. It was very heavy and there was a projection of battle footage that gave the whole thing a kind of apocalyptic vibe, especially since the first and only word I understood from the lead singer was when he actually, stereotypically, yelled out, as part of his audience banter, "SATAN!!"

Insane stage.

Anyway, once they were done it wasn't long before Slipknot unleashed what turned out to be an amazing show that was equal parts opening the gates of hell and Kiss style theatrics. There were several times that I wished, probably delusionally, that I had been down in the pit getting a better view and really feeling the energy. But as it was, from our more than safe distance, my knees were killing me just standing there.

I couldn't name all the songs, but the few I did remember, and some of the new ones I hadn't heard were great. I'm not a fan of big venues, especially when they're outdoors. The sound was ok, but at that volume, in the open air, it's bound to get muddied and lost, no matter how good the mix. The stage set was pretty insane featuring a giant devil head and ramps and fire and Christmas lights. There are a lot of dudes in Slipknot and three of them were drumming. One guy just kept jumping off the second level of the stage, repeatedly, because he's the DJ and there are maybe 3 songs that he actually has to do anything on. But all that insanity and over the top madness serves to somehow simultaneously enhance and balance out the darkness and nihilism. Because it's all in good fun.

One example of the fun was a song I hadn't heard before called "Custer" which features a chorus that everyone sang along in unison. That happy little chorus was "Cut, cut, cut me up and fuck, fuck, fuck me up." I thought Carlos shit his pants during that one. But the thing is this song, this music, this community is built on giving voice to dark thoughts. At several points Corey Taylor, lead singer, talked about us all being part of a family and how metal was the true music of the streets. And while I'm sure it's true that most genres, especially the more outsider genres develop these supportive communities, there's something about the nature of the metal catharsis (I've really taken to this word lately) that inspires a sense of community. Maybe it's because all that anger is coming from mostly painful places and anyone that is really into it can recognize it in each other even if we don't get all touchy feely about it. I don't know. Maybe it's just bullshit and it's just adrenaline.

*It's funny how mentioning Carlos makes him seem like my Argentinian lover or something. But he's actually Puerto Rican. 

Dead Sara and Royal Thunder: Rock is a Woman

Mlny is power.

The lineage of ladies tearing up some rock n roll, be it heavy or smooth is long and storied. And it's important to note because as much as we can say it shouldn't matter if they are male or female, so long as they're good, the stigma, roadblocks and flat out victimization of women in rock makes those that succeed that much more vital. In a strange. ironic and troubling way it adds to their appeal that there is this history of an industry (and a culture, really) that is as much against them as it is about exploiting them. So to this day, I always feel like there's more pure rock rebellion and badassery going on when I hear a strong woman's vocals at full volume, destroying her own throat if she must, just to get something out. And because of this, I can't stop listening to two bands in particular lately: Dead Sara and Royal Thunder.

Emily Armstrong's vocals are what rock dreams are made of. There's really nothing else I can say about it beyond that. She somehow has a sweetness that is wrapped in a fuck it all rasp or maybe it's the rasp that breaks through the shell of sweetness. Or maybe, oh who the fuck knows? Look, I'm sure this can be analyzed and dissected by people that know more about this stuff than I do, but really, just listen to her and feel the full range of expression that comes through. That damaged yell is the sound of catharsis which is the sound of rock n roll at it's most basic. Whether it's sexual, angry or just simply rebellious for the sake of it, it all begins with that sound. It's Janis Joplin, Roger Daltrey, Robert Plant and whoever the hell else you can think of all wrapped up in this one woman who still makes it hers. 

Then there's Mlny Parsonz of Royal Thunder, adding a witchy quality and subtle sense that you might get your ass kicked. No matter how personal and vulnerable her lyrics get (and they do) she is not someone you feel like you can fuck with. Any pain she exposes is done in the service of taking power from it with her voice, which is another vital element of the rock catharsis. Royal Thunder is heavy metal in a very traditional sense while at the same time encompassing some more modern forms of the genre. Because of that, Mlny in every way, transcends the concept of "girl who rocks" and becomes a perfect vessel for the history of Metal from Sabbath through the 80s (I hear some Ratt in there, in a good way) and beyond, taking grunge, sludge and whatever else with her. They tend to keep it slow and deep and there's no better voice for it as far I'm concerned. The fact that she also plays bass like a boss is just a bonus but not one that should be overlooked. 

Now go play their music, loud as fuck, as intended. 

Erin Armstrong takes flight.

2015 Week 23: Coping

SATAN!!!

I keep coming back to the heavy. Is this my version of a midlife crisis, getting back to the metal? The great thing is I'm not going back to stuff I use to listen to when it's about feeding my hormonal awkwardness. It's stuff that's new to me. Bands I've never heard. Sounds that are different from what I grew up with. But no matter how much I dig into other genres, like my new fado obsession, I still come back to the heavy.

So this week's Spotify playlist is nothing special, except I saw some accidental pairings in there after the fact. It's on the heavy side, as has been the trend lately for me, but has some softer moments as well. This is clearly due to stress, which I won't go into. If you know, you know. You know? In any case, let's call it Coping.