Max & Iggor Cavalera, Warbringer, and Healing Magic at The Vogue, Indianapolis, June 6th 2022

Heavy metal giants Max & Iggor Cavalera brought their show to Broad Ripple on Monday. The feature act was neo-thrash metallers Warbringer and Healing Magic opened the show.

Healing Magic is a duo from Arizona comprised of Igor Amadeus Cavalera on guitar and vocals and Johnny Valles on drums. It is amazing, truly incredible in fact, that such a full and complete sound can be created live by only two people. Roaring psychedelic riffs and astonishing percussion filled the club and got the crowd whipped up for the evening ahead. I have seen two-man acts before, but none could hold a candle to Healing Magic.

Veteran thrashers Warbringer held the middle slot. Formed in 2004, Warbringer has an impressive catalogue of albums in their canon and a formidable roster of metal musicians who line the stage every night and deliver stunning performances. Front man John Kevill stalked the stage and the pit and the crowd, becoming one with the concert-goers and making the night one they would remember all summer. The hard-driving attack of the guitars along with the steady rhythm section and searing percussion had the house speakers swaying.

Max and Iggor Cavalera are luminaries in the heavy music world. Remembered first as stalwart members of Sepulchura, they continued to create new and compelling music without pause after their departure from that iconic band. As Cavalera Conspiracy, they released four riff-filled albums in ten years. Operating now as Max & Iggor Cavalera, they continue to answer the call from the legion of their fans.

On Monday at The Vogue they played Beneath The Remains and Arise straight through, and a couple of bonus tunes at the end. This tour is a celebration of the early days of Sepultura. Being there to hear it live again was an amazing experience. The influence and lasting impact of that band cannot be overstated. This tour will help keep the music alive.

The links below will connect you to more information on the bands and to photo galleries of Healing Magic and Warbringer for more snaps from the show. There are many dates remaining on the tour. Grab a ticket and go.

Photos by Wayne Edwards.

Links.

Max & Iggor Cavalera, https://cavaleraconspiracy.bandcamp.com/

Warbringer, https://warbringer.bandcamp.com/

Warbringer photo gallery at FFMB, https://flyingfiddlesticks.com/2022/06/11/photo-gallery-warbringer-at-the-vogue-indianapolis-june-6th-2022/

Healing Magic, https://www.facebook.com/healingmagicaz

Healing Magic photo gallery at FFMB, https://flyingfiddlesticks.com/2022/06/12/photo-gallery-healing-magic-at-the-vogue-indianapolis-june-6th-2022/

The Vogue, https://thevogue.com/calendar/

© Wayne Edwards

Max & Iggor Cavalera, Warbringer, and Healing Magic at The Vogue, Indianapolis, June 6th 2022

Primitive Man at The Monkey House, Winooski, Vermont, May 30th

Denver’s Primitive Man is on the road with Mortiferum, Jarhead Fertilizer, Body Void, and Elizabeth Colour Wheel. Spirit Possession joins in July for several dates as well.

The show at The Monkey House featured the first five bands, beginning with Elizabeth Colour Wheel. It takes a lot to describe Elizabeth Colour Wheel. They are a doom band, I would say, but their approach is unique. The lead singer wanders through the crowd during the performance some of the time – at other times she is playing the keyboard or lying on the ground. There is a great deal of stomping on stage, and shrieking can often be heard. I could go on, but you really need to see the performance live to appreciate it fully. There isn’t much like it out there.

Body Void is well known in Vermont. They are a doom duo, performing as a trio. Teetering on the funeral doom edge some of the time, slow ponderous riffs are abundant in their performance. Their latest album is Bury Me Beneath This Rotting Earth, housing four long tracks all running over twelve minutes each. Their live performance maintains the ambience of the studio recording.

The first thing you notice about Jarhead Fertilizer is the overwhelming assault of percussion that lands hard from the beginning to the end and at all points in between. Their music is a death metal / hardcore / grindcore slam that will shake you fillings loose. This was my first hearing of them and I was left wanting more.

Just when you think you can take a breath, Mortiferum hits the stage and really pins your ears back. Their newest album is Preserved In Torment, and it is a death/doom metal manifesto. I first heard this band on the split they did with Hyperdontia a couple years ago and I have been waiting anxiously to see them live ever since. They were incredible in every aspect. They have made my list of bands I will see whenever possible, and it is a short list.

The headliner stood in posture of contemplation. Primitive Man, touring their Insurmountable album, lived up to what the press has been saying about them. The new EP is exceptional (link to review below), and their doubtless execution of doom leaves you speechless when you witness it. The music seems to emanate from them as a primal force of nature; their instruments are as creatures themselves. Put yourself in their path and you will be changed.

The tour goes on through mid-July so there are many chances to see these bands in action. Don’t miss out.

Photos by Wayne Edwards.

Links.

Primitive Man, https://primitivemandoom.bandcamp.com/album/immersion

FFMB review of Insurmountable, https://flyingfiddlesticks.com/2022/06/01/primitive-man-insurmountable-closed-casket-activities-2022/

Mortiferum, https://mortiferum.bandcamp.com/

Jarhead Fertilizer, https://jarheadfertilizeroc.bandcamp.com/

Body Void, https://bodyvoid.bandcamp.com/

Elizabeth Colour Wheel, https://elizabethcolourwheel.bandcamp.com/

The Monkey House, https://www.monkeyhousevt.com/calendar

© Wayne Edwards

Primitive Man at The Monkey House, Winooski, Vermont, May 30th

Primitive Man, Insurmountable (Closed Casket Activities 2022)

Denver doom trio Primitive Man raise massive cliffs of new music on Insurmountable.

Primitive Man took a big swing at the jump with their debut full-length album Scorn in 2013. Since then they have been laying down split after split, demos and EPs, and two more long-players, Caustic (2017) and Immersion (2020). They are not letting any moss grow here. Primitive Man – Ethan Lee McCarthy (guitar and vocals), Jonathan Campos (bass), and Joe Linden (drums) – are a force to be reckoned with.

The new record has three original songs and a cover. “This Life” begins on catastrophic riffs at funeral doom speed. Absolutely pulverizing, but without the implied hopelessness you might expect at this tempo. Don’t get me wrong – it is not encouraging. It is still animate. It speeds up a little here and there but not much. This doom is measured. “Boiled” offers ambient weirdness and disturbances.

“Cage Intimacy” squeals and scratches and writhes. The first vocals are as dark as dark gets. It is a grim giant moving about unaware of the smashing it is doing. Rabid black metal breaks out for a time, then the noise takes over. By the time the doom returns the damage is done. The final cut is “Quiet,” the cover of a Smashing Pumpkins song. It is taken to new heights with Primitive Man at the helm. This is the doom treatment we always knew that song needed.

I saw a live set at The Monkey House in Winooski, Vermont a couple days ago. I’ll pop a couple of photos here, and there is a separate article coming out in a few days about that show with many more photos of Primitive Man and the other bands. Their performance was massively heavy, and the show balanced the music nicely, alternating between doom, death metal, and other adventures.

Insurmountable is out now through Closed Casket Activities. Pick up the new EP, and see Primitive Man on tour now supported by Mortiferum, Jarhead Fertilizer, Body Void, and Elizabeth Colour Wheel. Check out the tour poster below for upcoming cities, dates, and supporting band roster.

Live photos by Wayne Edwards.

Links.

Bandcamp, https://primitivemandoom.bandcamp.com/

Website, https://www.primitivemandoom.com/

Facebook, https://www.facebook.com/primitivemandoom

Closed Casket Activities, https://closedcasketactivities.com/

The Monkey House, https://www.monkeyhousevt.com/calendar/

© Wayne Edwards

Primitive Man, Insurmountable (Closed Casket Activities 2022)

Carcass at The Vogue, Indianapolis, May 19th

Carcass, Immolation, and Creeping Death came to Indianapolis this week in the final days of their Spring tour. I have an article and photos coming up in Ghost Cult Magazine describing the whole affair. Meanwhile, here are a few Carcass photos that will not be in the article to tide you over. This is the third and final gallery for the show at FFMB – as a little advertisement for the longer article. I will put a link to the Ghost Cult article as soon as it goes up.

Photos by Wayne Edwards.

Links.

Ghost Cult Magazine article, https://www.ghostcultmag.com/concert-review-carcass-immolation-creeping-death-live-at-the-vogue/

Carcass, https://shop.nuclearblast.com/en/shop/item/groups/51000.1.html?article_group_sort_type_handle=rank&custom_keywords=Carcass

The Vogue, https://thevogue.com/calendar/

© Wayne Edwards

Carcass at The Vogue, Indianapolis, May 19th

Immolation at The Vogue, Indianapolis, May 19th

Carcass, Immolation, and Creeping Death came to Indianapolis this week in the final days of their Spring tour. I have an article and photos coming up in Ghost Cult Magazine describing the whole affair. Meanwhile, here are a few Immolation photos that will not be in the article to tide you over. I’ll post a separate gallery tomorrow for Carcass, anticipating the future. I will put a link to the Ghost Cult article as soon as it goes up.

Photos by Wayne Edwards.

Links.

Ghost Cult Magazine article, https://www.ghostcultmag.com/concert-review-carcass-immolation-creeping-death-live-at-the-vogue/

Immolation, https://www.immolation.info/acts-of-god

The Vogue, https://thevogue.com/calendar/

© Wayne Edwards

Immolation at The Vogue, Indianapolis, May 19th

Creeping Death at The Vogue, Indianapolis, May 19th

Carcass, Immolation, and Creeping Death came to Indianapolis this week in the final days of their Spring tour. I have an article and photos coming up in Ghost Cult Magazine describing the whole affair. Meanwhile, here are a few Creeping Death photos that will not be in the article to tide you over. I’ll post separate galleries tomorrow then the next day for Immolation and then Carcass, anticipating the future. I will put a link to the Ghost Cult article as soon as it goes up.

Photos by Wayne Edwards.

Links.

Ghost Cult Magazine article, https://www.ghostcultmag.com/concert-review-carcass-immolation-creeping-death-live-at-the-vogue/

Creeping Death, https://mnrkheavy.com/collections/creeping-death

The Vogue, https://thevogue.com/calendar/

© Wayne Edwards

Creeping Death at The Vogue, Indianapolis, May 19th

Septicflesh, Modern Primitive (Nuclear Blast 2022)

The new album from Greek symphonic death metal band Septicflesh is Modern Primitive, their eleventh.

Beginning in 1990 with the slightly different name of Septic Flesh, the Greek death metal band released six albums in the next many years. Taking a break in 2003, they returned four years later as Septicflesh, and since then have been back to their founding premise, continuing and expanding the scope of the their dramatic music. Modern Primitive is Septicflesh’s first album in five years, following Codex Omega. The band is Seth Siro Anton (vocals and bass), Christos Antoniou (guitar), Sotiris Anunnaki V (clean vocals and guitar), Psychon (guitar), and Kerim “Krimh” Lechner (drums).

There are nine tracks on the new album. “The Collector” is an ominous beginning for Modern Primitive, with its frightening melody. Even the clean vocals are paired with a crackling dark side. Full, rich compositions, a hallmark of symphonic metal, are on display establishing a theatrical presence and framework, really, for the album. “Hierophant” is a storm rolling across the Adriatic with unstoppable menace. Growls and punishing percussion burn off any remaining illusion, plunging you into “Self-Eater,” a state where you cannot hide from yourself. These songs are tied together in the narrative and, by themselves, create a classical drama.

The album continues with elaborate constructions and emotive metal. Stand-out songs for me are “A Desert Throne” with its stabbing guitar and aggressive footing that the melody is laid over, and “Modern Primitives” because of its pervasive heaviness tag-teaming with royal flourishes. The final track is “A Dreadful Muse.” This song is among the most energetic of the entire bringing a strong finish to an excellent album. Once things got started there was no slowing this metal down. Recommended.

Modern Primitive is out now through Nuclear Blast Records in the usual variety of formats.

Links.

Bandcamp, https://septicflesh.bandcamp.com/album/modern-primitive

Website, https://www.septicflesh.com/

Facebook, https://www.facebook.com/septicfleshband

YouTube, https://www.youtube.com/user/Septicfleshoffcial

Nuclear Blast, https://shop.nuclearblast.com/en/shop/item/groups/51000.1.html?article_group_sort_type_handle=rank&custom_keywords=septicflesh

© Wayne Edwards

Septicflesh, Modern Primitive (Nuclear Blast 2022)

Predatory Light, Death And The Twilight Hours (20 Buck Spin 2022)

The second full-length album from Predatory Light will shatter your expectations about technical blackened doom: Death And The Twilight Hours.

It has been six years since Predatory Light released their self-titled debut long-player. That is a tough wait for fans, but they have truly come through on the new one, which is one of the best albums I have heard so far this year. The musicians in the band seem to prefer going by initials alone, so we don’t know that much about them, except what we can discern by listening to their compositions. When we do we find elements of black metal, doom, and technical expressions that cannot be achieved by just anyone. The alchemy they practice is rare indeed.

“The Three Living And The Three Dead” is like a walk through a deadly carnival. Bright lights and dark delights splash at you at first, but eventually you see deeper in and the doom descends. The metal does not relent despite the nearly fourteen minute running time. This is a decadent suite of sinister wonders. The next track, “Wracked By Sacred Fires,” is very different in tone and execution, even though the first bars seemed like a callback. It is more explicitly in the black metal mold, and still the differences that Predatory Light own are astonishing. The music is aggressively engaging, but not with hooks or even riffs, really. Still, it is the construction of the guitar parts that pushes the songs to the next level.

“Death And The Twilight Hours” rolls out the doom at the front with sweeping, lead-heavy riffs and ponderous percussion. A minute and a half deep, the growling comes in and that indefatigable guitar, asserting and claiming new ground. The doom does return but does not overtake the established reality for long. And then there is the final track, “To Plead Like Angels,” which commits at the jump to pace and ingenuity. This exceptional album surprised me at every turn, on each and every one of its four tracks. Excellent. Highly recommended.

Death And The Twilight Hours is out today, Friday, May 20th through 20 Buck Spin. The quick snap is Bandcamp, and you can also get it at the label’s website. Links below.

Links.

Bandcamp, https://listen.20buckspin.com/album/death-and-the-twilight-hours

20 Buck Spin, https://www.20buckspin.com/

© Wayne Edwards

Predatory Light, Death And The Twilight Hours (20 Buck Spin 2022)

Assumption, Hadean Tides (Sentient Ruin 2022)

Death-doom metal band Assumption return with a tale as old as time on Hadean Tides.

Beginning ten years ago in Palermo, Sicily, Assumption is a doom metal band that works with death metal intonations and classic metal influences to produce thought-provoking and sometimes esoteric heavy music. The release of a demo and subsequent EP lead finally to the debut full-length album Absconditus in 2018. Hadean Tides is their second long-player.

The concepts behind the music are indeed hoary and mysterious. The band comments about it on their Bandcamp page as follows. “‘Hadean’ is the informal name given to the first geological era of our planet. It can be seen as a non-time of continual accretion, liquefaction, destruction and dissolution of a barely formed globe. Today only a few, 4+ billion years-old zircons from the Hadean have been found. These represent a silent witness to a mysterious eon that no sentient being would ever endure, in no way, on a physical plane. This ancestral magmatic dimension, intertwined with the symbolic influence of poems by William Butler Yeats, Dylan Thomas, Thomas Stearns Eliot and Rainer Maria Rilke … informs the ideas, sounds and intentions contained within this new album.” If you are looking for meaning, this is the place to start.

The music is as advertised: doom and death metal. In the slower, doom-oriented moments that dominate the album, the compositions place size and scale in priority positions, ladling drama heavily upon the boiling stew. This is evident from the very beginning with “Oration” and is demonstrated repeatedly throughout. “Submerged By Hadean Tides” is created particularly adeptly, lacing classic metal homages in the layers and building mighty walls with granite riffs. “Daughters Of The Lotus” is set at a funeral doom pace in its first half. At the five minute mark the music breaks loose in an overwhelming flood energetic emotion, then folds back into the doom. Darkly, beautifully done.

“Breath Of The Dedalus” is a mood piece, and what a dreary mood it sets with the effective use of eerie choral. “Triptych” is creepy and bizarre, with spare, clear spoken words that stands in contrast to the usual gruff vocalizations on the record. The final song is the fifteen-minute epic “Black Trees Waving.” It is an unsentimental journey into the abyss of distant time. The expressed ideas cling to you as they roll along, laying claim to your attention and consciousness. It is a wakening experience. Highly recommended.

Hadean Tides is out on Friday, May 20th. Many formats are available from Sentient Ruin Laboratories in the US and Everlasting Spew Records in Europe. Links below.

Links.

Bandcamp, https://assumption.bandcamp.com/album/hadean-tides

Facebook, https://www.facebook.com/assumptiondoom/

Sentient Ruin Laboratories, http://sentientruin.com/main

Everlasting Spew Records, https://everlastingspew.com/

© Wayne Edwards

Assumption, Hadean Tides (Sentient Ruin 2022)

Bog Body, Cryonic Crevasse Cult (Profound Lore 2022)

Bog Body brings forth their first full-length album, Cryonic Crevasse Cult.

Not your typical death metal band, Bog Body is made up entirely of vocals, bass, and percussion generated from two musicians. Putting out a demo in 2018, Through the Burial Bog, and a split with Primitive Warfare in 2020, The Gate Of Grief, you might wonder if they have anything else to say. It turns out that’s a yes.

Think about it for a minute. Bass and drums and vocals. Is that enough? It is certainly a lane, and the limiting choice of instruments narrows the avenues for expression. Then again, it requires the composers to be especially creative if they are to achieve anything fans want to hear. I think they have done it.

The music is death metal, heavy on the sludge, and it leans toward black metal sentience, metered down a bit. The bass lines are doing some heavy lifting here, as you might expect. Speed comes from the percussion first in the absence of guitar, and the bass line keeps up. The vocals exist in a muted blackened doom metal realm.

There is a welcome variety in the music as we roll through. “Ice Stained Kurgan” has a deep, mysterious formulation to it, while songs like the title track are high velocity poundings. The set opens on “Paralytic Pit of Swallowed Graves” and closes with “The Graveyard Of Dead Cratons,” two songs that, musically, stand well apart. Indeed, while “Paralytic” is a mood-setter and serves to orient expectations for the rest of the album, “Graveyard” is my favorite track for its firm stance on its own identity. The commitment to heavy music is present throughout, and I can say no other band sounds quite like Bog Body. Recommended.

Cryonic Crevasse Cult is out on Friday, May 20th through Profound Lore Records in digital and on CD.

Links.

Bandcamp, https://bog-body.bandcamp.com/

Facebook, https://www.facebook.com/bogbodyofficial

Profound Lore Records, https://profoundlorerecords.com/

© Wayne Edwards

Bog Body, Cryonic Crevasse Cult (Profound Lore 2022)