BLOODYMINDED with Corrections House 11/30

https://www.facebook.com/events/211499429008084/
 
Calling something a “supergroup” is asking for trouble. All too often such bands end up less Cream and more Asia—you can even have a guy from Nirvana onstage with a guy from Led Zeppelin and still be disappointed. But Corrections House, an experimental industrial project launched late last year, seems to have chosen its lineup for maximum heaviness, not maximum marquee value. Eyehategod front man Mike IX Williams and Neurosis vocalist-guitarist Scott Kelly hold down the front line, supported by Chicago-based engineer Sanford Parker on programming and Bloodiest/Yakuza vocalist Bruce Lamont on saxophone and effects. The brand-new Last City Zero (Neurot) is as brilliant and intense as you’d expect, given the personnel involved: Parker’s Godflesh-flavored mechanical beats propel massive, dramatic guitar riffs and Williams’s damaged shrieks through Lamont’s bleak soundscapes. Here and there the band demonstrates a flair for dynamic contrasts: the title track is pensive spoken word from Williams, while “Run Through the Night” is a spaghetti-western acoustic track, with Kelly’s bellowing vocals filled out by triumphant saxophone wails. But Corrections House are at their finest when they go full Wax Trax!—I love the insanely heavy gallop of “Bullets and Graves” and the earth-rattling assembly-line gnashing of “Dirt Poor and Mentally Ill.” Tonight’s show is a release party for Last City Zero. —Luca Cimarusti Bloodyminded and DJ Scary Lady Sarah open.

BLOODYMINDED Photos from 11/03/13 Show

Thanks to our friend Carmelo Espanola for the great photos he took of BLOODYMINDED, Inter Arma, Black Tusk and Eyehategod!

http://www.chicagomusic.org/blog/photos-eyehategood-black-tusk-inter-arma-bloodyminded-cobra-lounge-11313

BLOODYMINDED "Within The Walls" CD Release Show Tonight with Eyehategod

Tonight is the release show for the new BLOODYMINDED CD "Within The Walls" and the band will be celebrating by playing an undoubtedly memorable event with Eyehategod, Black Tusk and Inter Arma.  It is an early Sunday show, with doors at 8:00 PM and BLOODYMINDED on at 8:30 PM, so don't be late!  The band will be selling their new CD, along with a new run of "Within The Walls" RAT and FLEA T-shirts.

Third BLOODYMINDED Show Announced

Poster for BLOODYMINDED CD Release Show

BLOODYMINDED Plays With EYEHATEGOD on Sunday November 3

Just announced! EYEHATEGOD, Black Tusk, Inter Arma, BLOODYMINDED, on Sunday November 3 at Cobra Lounge. Tickets go on sale this Wednesday:

http://www.ticketfly.com/purchase/event/387883

BLOODYMINDED "Gift Givers" CD - NOW IN STOCK

B!045 BLOODYMINDED "Gift Givers" Digipak CD (Re-Press)

BloodShop! http://bloodshop.bigcartel.com/product/b-045-bloodyminded-gift-givers-cd

Bandcamp (includes immediate download): http://bloodyminded.bandcamp.com/album/gift-givers

LONG OUT-OF-PRINT -- FINALLY BACK IN STOCK -- NEW EIGHT-PANEL DIGIPAK EDITION

Mike IX book added to BloodShop!

Now in stock:

Michael IX Williams "Cancer as a Social Activity: Affirmations of World's End" - Book (Eyehategod)

http://bloodshop.bigcartel.com/product/michael-ix-williams-cancer-as-a-social-activity-affirmations-of-world-s-end-book-eyehategod

TEN SUICIDES Update

- Work is underway on a master of the live TEN SUICIDES recording from last June, at Reckless Records, the weekend of Eyehategod's two night stand at The Empty Bottle. We are moving forward with an LP and there is even discussion of a few shows this summer, with some sort of interesting personnel configuration, pending a bit of tricky scheduling... Don't forget that TEN SUICIDES T-shirts are available via the BloodShop!

Ten Suicides T-shirt Pre-order

Pre-orders for the forthcoming Ten Suicides T-shirt are now available via the BloodShop!

XS-XL:
http://bloodshop.bigcartel.com/product/ten-suicides-t-shirt-pre-order-for-xs-xl
2XL-4XL:
http://bloodshop.bigcartel.com/product/ten-suicides-t-shirt-pre-order-for-2xl-4xl

These shirts will ship on or before March 15, 2011

As with previous BloodLust! shirts (Anatomy of Habit, BLOODYMINDED, Intrinsic Action, Nightmares, Super Eight Loop) these are professionally printed black Gildan 100% cotton short-sleeve T-shirts with white printing on the front only. These are classic, full-size T-shirts, in the sense that they runs a bit large, particularly compared to more snug-fitting American Apparel and H&M T-shirts.

Ten Suicides info:

In 2005, Mike Williams [Eyehategod, Outlaw Order, Arson Anthem, The Guilt Of...] contributed guest vocals to the song "Ten Suicides" on the BLOODYMINDED "Gift Givers" CD [B!045].

In 2009, the record label Chrome Peeler released a Mike Williams 7-inch that featured soundscapes created by Ryan McKern [Wolvhammer, The Guilt Of...] under Williams' spoken passages on the A-side, and a new remix of "Ten Suicides" by BLOODYMINDED's Mark Solotroff on the B-side.

That release set the stage for a live collaboration, under the name Ten Suicides, between Williams, McKern, Joey LaCaze [Eyehategod, Outlaw Order], and three members of BLOODYMINDED [James Moy, Isidro Reyes, and Mark Solotroff], who all joined together to perform a special version of the song "Ten Suicides" at the Wicker Park location of Reckless Records in Chicago, on June 20, 2010, during Eyehategod's summer 2010 tour.

An LP featuring a live recording of the Ten Suicides performance is scheduled for release on BloodLust! in 2011.

Mike IX / BLOODYMINDED single back in stock

More copies of this briefly out-of-stock single just arrived. Please note the slight price increase as these copies include the large poster.



LIMITED STOCK AVAILABLE:
Mike IX and the Southern Nihilism Front present:
"That's What the Obituary Said" b/w "Ten Suicides"
7-inch
Chrome Peeler Records
$10.00 USA/$12.00 Canada+Mexico/$14.00 Rest of World@postpaid
(Mike Williams, vocalist for Eyehategod, Outlaw Order,
Arson Anthem and author of "Cancer as a Social Activity:
Affirmations of World's End" delivers anti-social misanthropic
spoken word and power electronics on this limited edition 7-inch.
Side Zero: "Thats What the Obituary Said" a spoken prose piece
with ambient backing by Ryan [The Guilt Of...] McKern, The other
Side Zero: "Ten Suicides"' originally a BLOODYMINDED track
with vocal by Mike IX Williams and now newly re-mixed by Mark
Solotroff [Intrinsic Action/BLOODYMINDED]. Original artwork by
Mike IX. Black with yellow splatter colored vinyl. Limited to 500
copies. Includes large folded poster. Housed in glued, true picture sleeve)
Discogs: http://tinyurl.com/29b8grd

Crucial Blast on Recent BloodLust! Releases

As always, I appreciate the well-written and thoughtful write-ups that get posted on the Crucial Blast website

FECALOVE Deadweight 7 INCH VINYL (Bloodlust!)

A vicious new slab of power electronics from Italy's Fecalove, aka Nicola Vinciguerra. My first exposure to Fecalove's murderous power electronics was through the super limited releases fromm the band that Vinciguerra has issued on his Italian division of Turgid Animal which he operates; everything that I've heard so far from this project has been supremely savage, purely visceral PE that's at the evil end of the spectrum, influenced by the likes of Whitehouse and Sutcliffe Jugend, but with nasty black metal style vocals that give these electro-terror shock attacks a real demonic vibe.
The a-side track "Deadweight" is exactly this sort of devilish power electronics. An omnipresent harsh electrical buzz runs through it, a thick static drone that underscores the ugly nihilistic lyrics and fucking evil vocals that start in almost immediately; where a lot of PE can be static and lacking in dynamics, this is not...it's a number of different parts arranged into something resembling an actual song, moving between a couple of different sections and making for a dramatic, terrifying dose of heavy electronic hate. On the flipside, "When" appears as a stirring call to a return to total bestial savagery, a seething power electronic dirge of flesh-tearing high-end feedback, massive low-end synth throb and those evil distorted vokills, blasting your skull with electronic violence until it ends in a violent salvo of crashing scrap metal.
Comes on pink vinyl in a hand-numbered limited edition of 200 copies, and packaged in a full-color sleeve.

GUILT OF, THE self-titled CD-R (Bloodlust!)

The debut full length from The Guilt Of..., the new industrial duo of Mike Williams (Eyehategod/Outlaw Order/Arson Anthem) and Ryan McKern (Wolvhammer). If you've followed Eyehategod for a while, you mightn have noticed that Williams has often cited the aesthetics of early industrial on the visuals and artwork of Eyehategod, in particular the grisly images put forth by SPK, and the bleak, nihilistic music of SPK (as well as Throbbing Gristle) is obviously a primary influence on the warped, deformed electronics that Williams and McKern create as The Guilt Of. The sound is at times comparable to early industrial works like Information Overload Unit, but Williams's hysterical, ragged screams and the occasional distorted guitars give this a weird sludgy metal feel that creeps in from time to time. The combination of primitive industrial, fractured sludge metal guitar slop, and noise/sample collage that appears on these six tracks makes for some strange, drugged soundscaping, with all of the dark, nihilistic imagery and atmosphere that permeates all of Williams's work. Simple plodding drum machines spit out repetitive beats that throb underneath the filthy droning buzz of synthesizers and traces of fractured melodies spinning within the murk; the background is alive with creaking metallic noise and gurgling Moog-like bass. The industrial dirges are creepy and minor key, grim death-marches over minimal electro thump, shafts of synth strings and searing, distorted synth sludge blasting upwards, and blown out guitar noise writhing and convulsing around Williams's gnarled, nightmarish lyrics, which he vomits and howls out, making this at times veer into a kind of sludgy power electronics assault. The first few tracks are all bent, plodding industrial atavism, but later the disc moves into delirious collages of spoken word over dark industrial noisescapes, and sampled Japanese flute melodies, tape noise, and mangled synths on "Allergic To The Infamous Healer". The track "Void Of Regressions" is a bizarre cacophony of Skullflowery guitar noise, drugged chanting, primitive electro rhythms, chugging metal guitar, swirling electronics and blackened vokills, one of the heavier and more hellish tracks here, and "Mechanics Of The Unheard Catalyst" delivers another weird hybrid of formless metal and old school industrial with it's meandering metallic guitar wandering over piles of looped rhythmic samples and thick synth squelch, buzzing drones and fucked-up, processed power electronics and damaged machinery; later, a fractured drum loop comes in, almost like an old school breakbeat, while a guitar shreds in the distance, as the song devolves into a clanking industrial groove. The frustrated, hopeless vibe ends with the droning electronic noise, feedback, and murky synths of the final song "Words Of The Given Past", with more monstrous, blackened growling vokills, chiming melodies, ominous whispers, looped sampled voices and bits of Willaims's spoken word. This sort of hallucinatory, mangled industrial has some of the mutant industrial vibe as some of Maniac's recent recordings with Sehnsucht and Andrew Lilles, but it's nastier stuff, with a feverish sickness seething beneath their sputtering machines and slithering sample-ridden electronic creep. Limited to 200 copies, in jewel case packaging.

MASTURBATORY DYSFUNCTION Getting Caught CD-R (Bloodlust!)

Total synthesizer destruction. Getting Caught is the first release from Seattle's Masturbatory Dysfunction, a one-woman synth-noise outfit who debuts here with eight lengthy tracks of crunchy electronic abuse that falls somewhere in between minimal death industrial and extreme synth blast. This stuff is as burly as Sixes, with lots of cold droning synthesizer buzz and sinister dronescapes surrounded with a strange spaciousness, the result of the material having been recorded in a music retail store; apparently, the lady who's behind Masturbatory Dysfunction would go into a major music equipment store in Seattle on her lunch break and blast out walls of noise on the synthesizers that the store had on display, which she would record on a portable recording device. There were several of these "recording sessions" that produced the source material for this album, some of which had to be obnoxiously loud and grating, and yet she managed to assemble all of this material without getting kicked off the premises. The end material was later digitally edited and organized, and mastered at abusive volume levels. It's wild that she was able to pull this off without getting the bum's rush, because a lot of this material is seriously abrasive. The title Getting Caught is an obvious allusion to her surreptitious recording techniques, but it also has creepier, more sinister connotations with tracks like "It Was A Mistake ", "Late Night Filth" and "Bye Mom". Sound wise, the tracks almost feel like field recordings at times, spacious and organic due to the synthesizers blending with the natural room ambience, but as the pieces move through grim, minimal minor-key chordal dirges and clouds of crackling high end static, they become punishing full-bore distortion assaults, walls of overdriven distorted synth shaped into crushing throbbing rhythms and brutal turbulent noise, weighted down with some heavy duty low-end turbine violence. Hypnotic, brain-flattening powerdrone and grim rhythmic plod combines with blasts of spastic 8-bit video game chaos and crushing static hum. The last track is the least brutal, almost pretty actually; a series of very minimal two-note melodies and sustained drones fuse into an oscillating chordal flux, which at first is droning and hypnotic, but gets heavier later on as thick choppy buzzing builds into a massive amplified engine roar. This disc is a powerful piece of industrial synth abuse, and is another excellent dose of extreme electronics for fans of the Bloodlust! aesthetic.

Three New Releases

BloodLust! New Release

Artist: The Guilt Of...
Title: "S/T"
Format: CD (Professionally duplicated CD-R, single panel, double-sided insert, color artwork; jewel box with shrinkwrap)
Catalog Number: BloodLust! 156
Genre: Noise / Crust / Sludge / Experimental / Industrial
Edition Size: 200 Copies



BloodLust! is pleased to announce the release of an uncompromising set of recordings by The Guilt Of..., a new and extremely fruitful collaboration between Mike Williams [Eyehategod, Outlaw Order, Arson Anthem] and Ryan McKern [Wolvhammer]. This disc quickly follows their recent split 10-inch with Ivs Primae Noctis [2010, Trips und Träume] and their new split LP with Merzbow [2010, Chrome Peeler]. Williams' last BloodLust! appearance was on the BLOODYMINDED "Gift Givers" CD [B!045, 2005], on the track "Ten Suicides." In 2009, Chrome Peeler released a Mike Williams 7-inch that featured Ryan McKern's soundscapes under Williams' spoken passages on the A-side, and a new remix of "Ten Suicides" by Mark Solotroff on the B-side. That release seemed to set the stage for the emergence of this new TGO... CD on BloodLust! Also of note is a live collaboration between Williams, McKern, Joey LaCaze [Eyehategod, Outlaw Order], and three members of BLOODYMINDED - James Moy, Isidro Reyes, and Mark Solotroff - who performed at Chicago's Reckless Records as Ten Suicides on June 20, 2010. Thus, the time certainly seemed right to unleash this hard-to-classify new group's music on BloodLust! Equal parts experimental noise, early industrial, sludge-metal, and crust-punk, the six tracks that make up this album hark back to a forgotten point in time, when labels like Relapse, Earache, Roadrunner, and Pathological were releasing weird hybrid records by groups such as Malformed Earthborn, Thorn, Candiru, Techno Animal, Dead World, etc. At the time, it seemed like the worlds of metal, punk, and industrial would forever go on to intermingle and reconfigure in continually evolving new forms - but things did not quite work out that way. Some innovative artists and musicians of the period, such as Williams, continued to keep an open mind and never allowed themselves to be easily pigeonholed. With The Guilt Of..., Williams has the perfect outlet for his singular, dark world view, building upon the narratives created for his metal and punk incarnations, and seen in his groundbreaking book "Cancer as a Social Activity: Affirmations of World's End" [Southern Roots Publishing, 2005]. With McKern's instrumental expertise and his own wide range of tastes, Williams has just the right partner with whom he can spew his thought provoking, Manson-obsessed, Burroughsian cut-up writings. These are professionally duplicated CDs, with single panel, double-sided inserts, featuring color artwork; in jewel boxes with shrinkwrap; released in 2010.

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Tracklisting:
1: "A Federal Bail To Poverty" (4:30)
2: "Remorse For The Liar" (5:05)
3: "Allergic To The Infamous Healer" (5:37)
4: "Void Of Regression" (5:10)
5: "Mechanics Of The Unheard Catalyst" (4:07)
6: "Words Of The Given Past" (6:34)
(Total Running Time: 31 Minutes)

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Price: $14.00 USA/$16.00 Canada+Mexico/$18.00 Rest of World @ postpaid
(Wholesale rates available to distributors, mail-order services, and record stores; please inquire)
Please use bludlust@mindspring.com for PayPal payments

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BloodLust! New Release

Artist: Masturbatory Dysfunction
Title: "Getting Caught"
Format: CD (Professionally duplicated CD-R, single panel, double-sided insert, color artwork; jewel box with shrinkwrap)
Catalog Number: BloodLust! 152
Genre: Noise / Experimental / Death-Industrial / Power-Electronics



BloodLust! is pleased to announce the debut release by Seattle, Washington's Masturbatory Dysfunction. On offer are eight startling and strong compositions that straddle the lines between harsh noise, synth noise, and death-industrial - somewhere in the neighborhood of a vocal-less Pharmakon, as a starting point, at least. But let's not start some East Coast - West Coast rivalry here. And let's also not overlook how curiously Masturbatory Dysfunction sits next to Climax Denial, another sonic point of reference, to some degree. The young woman behind this solo project had been in touch with BloodLust! for a while, before news of her recordings reached the label. Once her unique concept and methodology had been revealed, there was no question that a release was in order. Amazingly, these recordings were exclusively made during business hours - lunch hour, typically - at a leading national music equipment retailer. The artist behind MD would take a recording device into the store with her - typically a digital video camera - and she would proceed to try out the synthesizers that were available to customers for demonstration - at high-volume, no less. Without trying to be sexist here, if a typical noise guy tried to do this they would definitely be asked to leave the store. But MD, as we shall call her from now on, managed to repeatedly push the limits of how long, how loud, and how frequently she could blast away at the store, capturing a sizable body of work in the process. Tracks were then transferred to computer, edited for time, mastered for maximum sonic potency, and selected for this, her first collection. The term "Getting Caught" functions on multiple levels for MD, both in the obvious sense, as well as in her sexually and criminally based themes. It all works so nicely on multiple levels, which makes this such a powerful debut and such a pleasure to release. These are professionally duplicated CDs, with single panel, double-sided inserts, featuring color artwork; in jewel boxes with shrinkwrap; released in 2010.

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Tracklisting:
1: "Think It Through" (3:10)
2: "Getting Caught" (2:29)
3: "It Was A Mistake" (3:20)
4: "Remnants Of Rape" (6:05)
5. "Me Encountering Myself" (3:35)
6: " Late Night Filth" (3:02)
7: "You Blew It" (5:27)
8: "Bye Mom" (5:06)
(Total Running Time: 39 Minutes)

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Price: $14.00 USA/$16.00 Canada+Mexico/$18.00 Rest of World @ postpaid
(Wholesale rates available to distributors, mail-order services, and record stores; please inquire)
Please use bludlust@mindspring.com for PayPal payments

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BloodLust! New Release

Artist: Mark Solotroff
Title: "Archive04"
Format: CD (Professionally duplicated CD-R, single panel, double-sided insert, color artwork; jewel box with shrinkwrap)
Catalog Number: BloodLust! 134
Genre: Noise / Industrial / Experimental / Power-Electronics



BloodLust! is pleased to announce the fourth release in the Mark Solotroff "Archive" series. In the planning stages for over two years, this series of seven CDs will cover all of Solotroff's solo output, released under his own name in 1995 and 1996. All of these recordings were originally released on cassette by a small group of labels, including BloodLust!, G.R.O.S.S. [Japan], Less Than Zero [Italy], Old Europa Cafe [Italy], and Slaughter Productions [Italy]. Each release will include bonus material, consisting of either compilation tracks from the same labels, or newly created remixes. At the time that these recordings were made, Solotroff had switched gears between Intrinsic Action and BLOODYMINDED and he had recently completed the recording of the first 50 analog synthesizer-based Super Eight Loop cassettes. This small body of work gave Solotroff the opportunity to put away the synths and to try something different. In 1995, the idea of using guitar effect pedals as ones primary "instrument" in making heavy noise was still fairly novel, and Solotroff made use of an arsenal of distortion, delay, flanger, phaser, and other pedals, running either radio frequencies [scanner or shortwave] or his voice through the complex chain of FX. The results fit squarely into what was, at the time, being discussed as a new American noise style that was developing away from the power-electronics scene, and which eventually evolved into the harsh noise subgenre of today.

For the fourth entry in the series, the two core tracks are taken from Solotroff's 1996 cassette on Slaughter Productions, "Evidence To Suggest Postmortem Sexual Assault" [SPT 91], and the bonus track is derived from the same label's creatively packaged 1995 cassette compilation, "Extreme Pleasures Vol. I." Hand-written notes and diagrams that were saved indicate that Solotroff employed a variety of equipment in the main recording sessions, including a battery of effect pedals, in conjunction with scanner, radio, and analog synth [Arp Axxe]. Unlike previous entries in the series, the two core tracks on this CD focus on bass, exploiting the low-end rumble as far as possible, without letting the master go beyond the point of no return. Thus, the focus is less on brutal volume and more on maintaining the bass-driven wall of noise. The compilation track, however, offers variety in the form of crisp higher-end noise that is delivered at suitablly high volume, so as to shock anyone back to reality, should the rumble have caused them to drift too far away. The packaging for these releases is based upon the format established with the two Mark Solotroff + Sshe Retina Stimulants CDs that were released by BloodLust! in 2008 [B!101 + B!102], and the entire series will follow this unifying template. These are professionally duplicated CDs, with single panel, double-sided inserts, featuring color artwork; in jewel boxes with shrinkwrap; released in 2010.

Mark Solotroff: Anatomy of Habit, Animal Law, A Vague Disquiet, BLOODYMINDED, Intrinsic Action, Nightmares, Super Eight Loop, Surgical Stainless Steel, The Fortieth Day; "Death Musick Ritual" DJ series (w/Bruce Lamont of Yakuza)

Recent guest appearances: Brutal Truth (synth on "Evolution Through Revolution" + live in Chicago 2009), Consumer Electronics (live synth 2008-09), Locrian (vocals and synth on "Territories" LP + live in 2010), Plague Bringer (live synth + vocals 2009-10), Mike IX Williams (of Eyehategod; remix of BLOODYMINDED song on new solo 7-inch), Wilt (remix/collaborative track on "Cemetery Road/Dead Electroniks")

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Tracklisting:
1. Untitled (30:27)
2. Untitled (30:57)
3. "Blood Room" (6:36)
(Total running time: 67 Minutes)

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Price: $14.00 USA/$16.00 Canada+Mexico/$18.00 Rest of World @ postpaid
(Wholesale rates available to distributors, mail-order services, and record stores; please inquire)
Please use bludlust@mindspring.com for PayPal payments

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Crustcake on Ten Suicides

A nice write-up from Crustcake, as part of a full Eyehategod weekend wrap-up (nice "Afternoon Delight" reference!):

Ten Suicides
When: Sunday, June 20, 2010
Where: Reckless Records Wicker Park, Chicago, IL

Two trains (Blue Line at Divison, Forest Park-bound to Monore Red Line Howard-bound) and a bus (N201) later, I was back in my Evanston apartment. Cradled backed into the arms of yuppiedom (why I actually live there is a long story).

I did not want to be there. What I wanted was more punishment. Time to get reckless at Reckless.

Wicker Park, for those who haven't been to Chicago, is where American Apparel/Crystal Castles-fixed-gear types hang out. Pitchfork's home base is there. Enough said. Therefore, a noise set would be quite abrasive to the regulars. Luckily, Ten Suicides were plenty harsh. Comprised of Eyehategod's Mike Williams and Joe LaCaze, Mark Solotroff, Isidro Reyes, and James Moy of Bloodyminded, and Ryan McKern of The Guilt Of..., Ten Suicides was a little under 30 minutes of ear-splitting electronic manipulation. Solotroff screamed into a cornucopia of microphones, Williams strummed loosely on his guitar, LaCaze pushed his way and screamed into the crowd, and no one was making anything resembling Starlight Vocal Band. Due to the confines of the venue, it wasn't quite as confrontational as a Bloodyminded show, but still a hell of a good time. At the instore, I saw plenty of veterans from last night, including Zac Ohler from Strong Intention. 3 p.m. was the right time for us. Any earlier and people would still be sleeping off the hooch.

End of the EHG Weekend Pix

End of the night, the weekend, the world...


Isidro Reyes, Brian Patton, Mark Solotroff, Joey LaCaze, Mrs. Michelle Williams, Mike IX Williams, Ryan McKern, James Moy


Mark Solotroff, Joey LaCaze, EHG fan, Ron Holzner (Earthen Grave, My Cold Dead Hand, ex-Trouble)

Nice review of Plague Bringer/Eyehategod...

Here is a really nice write up of the Saturday show from: http://metalrunsinmyveins.blogspot.com/2010/06/skull-at-empty-bottle-for-eyehategod.html

Bands: Eyehategod, Nachtmystium, Plague Bringer, Strong Intention, and Weekend Nachos

Venue: The Empty Bottle, Chicago, Illinois

Date: June 19th, 2010

By: Skull

“Being quite used to shaking off my buzz and burning the midnight oil while trying to immediately purge memories from a night of live metal, I am somewhat not used to rehashing a couple of days removed. Considering my altered state last Saturday night at the Eyehategod show at The Empty Bottle, I ask for your patience, and maybe even a willingness to turn a blind eye to whatever mistakes or foggy recollections are haphazardly documented in this entry.

Arriving 15 minutes before the scheduled start of the first set, which is horrendously late for me, my lady Kelly and I popped into the adjacent “The Bite Café” for yet another go at their incredible green curry chicken dish. Yes, every single time I hit The Empty Bottle for a show, you will again hear me praise this culinary wonder.

Making our entrance to the club shortly thereafter, we snagged a drink (the first of many) and took a spot towards the back for the first set from up and coming hardcore enthusiasts Weekend Nachos. I was surprised that The Empty Bottle was already more than half full, and the crowd was collecting up close to the stage. WN kicked into a short set of high energy, sludge spattered hardcore with reckless abandon. It took a couple of numbers for me to warm up to them, but the crowd was already well versed and familiar with the guys, giving them a great response. I’m not sure if my eyes were playing tricks on me, but I could swear I saw Snyder, their amusing vocalist, check on his cell phone towards the end of the set. I’ve never seen that done before on stage. Awesome.

After a curiously long changeover, and another barley pop later, Strong Intention, a trio from Maryland (?), began their slot. The crowd gave them a wide berth, giving the appearance that they shared my unfamiliarity with the band. I could swear that I heard SI play the first song three times over before they opened up and showed a little more diversity. Playing, at times, a seriously fast mix of hardcore, crossover, and grind, I found myself enjoying the second half of their performance a bit more than the first. The growing crowd, not as enthused as they were with WN, also became more responsive and did give them a more than polite round of applause as SI started breaking down their set.

Smoke. Drink.

Now, Anal Cunt had originally been in the evening’s lineup, and were removed a week or so before the show. I do not know the reason why, but it must have been an act of god (editor: ?), because what we witnessed for the next 40 minutes or so truly blew my mind. Another local act, Plague Bringer, took the stage and captivated the mob with a short set of heavy, riff laden industrial grind. Absorbing the two man act with Greg on guitar and Josh sticking to incredible shrieking vocals backed up by programmed drumming and droning effects, I stood aghast as my jaw hit the floor. Extremely focused on their art, PB gained our full attention and never lost it.

For their last number (“One into Parts,” a yet to be released track), Plague Bringer brought up Mark Solotroff, a prominent figure from the Chicago Industrial/Electronica music scene to assist with vocals. He carried with him a hand held synthesizer that couldn’t have been larger than an iPhone. At first, I thought that it was a camera and he was capturing his viewpoint on video, but I learned later that he was actually contributing something to their overwhelming sound with it. His initial moaning and clean vocal style was in stark contrast, but also very complimentary, to Josh’s delivery. The collaboration was nothing less than amazing. Plague Bringer could have played that one cut alone and I would still have felt the satisfaction of a complete set. As they began breaking down to a generous ovation, I must have looked like I had just seen a ghost. Speaking briefly with Greg later in the evening, I found out that they are in between labels with new material to release.

After stepping outside for yet another carcinogenic fix, we noticed that the club had posted a “Sold Out” sign at the door. The place was now jam-packed for Nachtmystium. Still getting a decent spot, we were then treated to an exceptional set by Blake Judd and company. Playing with ferocity and drive, they killed their home fans with an onslaught of selections from their repertoire. Losing the bass due to a broken string during “A Seed for Suffering”, they still pulled it off professionalism and poise. The new material went over well, although they omitted the curious “No Funeral” from their set list. I was very interested as to what the crowd reaction would have been if they had pulled that one out. Closing up with “One of These Nights/ Assassins,” Nachtmystium left the stage to a huge amount of appreciative applause. My only complaint was that they didn’t have more time.

Returning back inside after another butt, we soon realized our outdoor expedition was ill-advised this time around for there was almost literally nowhere for us to stand to see one of the main pioneers of sludge. Our backs were practically pressed up to the soundboard wall as Eyehategod took to the stage and ripped into “Depress,” kicking off their journey back in time covering “In the Name of Suffering” in its entirety. What can one say about witnessing such a grand event? I sit at the keyboard with almost still hands. Especially since I turned on to EHG later in life, and also due to alcohol poisoning and sheer ignorance, I cannot even account an accurate summation of what they played.

EHG completely saturated the multitudes with filth. Patton’s and Bower’s skull crushing riffs flattened the crowd while Williams’ unique vocal style, and humor, entertained and pumped us up. The floor in front of the stage was a sea of movement with people banging their heads, while also sustaining a pit despite the sheer density of concertgoers that should have prevented it. Head surfing and some stage diving developed, as well, as EHG moved on from their debut full length into a montage of selections from other releases.

There are no highlights, in a manner of speaking, due to the fact that EHG simply did not loosen their grip on Chicago for the entire length of the set. Due to my state of semi-inebriation at the time, I can’t even give you an estimate of the length of EHG’s set, except that it was a good long while. EHG left us tattered and shaken, but craving more. Before leaving the stage, Williams plugged the following night’s return of EHG to The Empty Bottle. Sadly, I would not be able to attend due to holiday obligations, although my mind would spend the entire day trying to unsuccessfully scheme my way around it…”

In Production: B!156 The Guilt Of...

Ten Suicides Video (Parts 1 + 2)

Here are both parts of the video, originally mentioned the other day:

More Ten Suicides Video

For some reason, part one of this video has been blocked by Fox for copyright reasons... I have no clue what is going on as I have not seen it, so I will just post part two here for the time being. FYI, part one is on the YouTube user's channel:

http://www.youtube.com/user/IchiTheTiki

If part two gets cut off below, you can also watch on the user's channel, or here:

http://www.youtube.com/watch?v=0JfVZI4M3ws

Ten Suicides Photos

Courtesy of our friend Mark Montalvo