I don’t have to tell you about 2020 – you were there, too. Usually, at the end of the year, I spend December choosing some photos to repost for good vibes and great memories, but this year I didn’t take a single photograph of a live show. Yeah. So, I am going to post a few photos from 2019 that did not see that light of day then, just for fun. I am keeping the cameras warm for 2021 because hope springs eternal.
There was a lot of excellent music released this year. We published 188 reviews in 2020, a lot more than we thought we would. There are so many “Best of 2020” lists out there that I decided not to do one for FFMB. Instead, I am throwing up a couple of covers from albums we didn’t review this year that were really good – just couldn’t get to everything. We’ll try to do better in 2021.
Thanks to everybody involved with Flying Fiddlesticks Music Blog and the Shardik Media Cabal. Deep gratitude and thanks to all the bands, record labels, venues, publicists, and promoters keeping music alive for all of us.
We’re still here and we are carrying on in 2021. See you out there.
Death Metal legends Incantation return with their eleventh studio album, Sect of Vile Divinities.
It would be hard to overestate the impact Incantation has had on heavy music, and on Death Metal in particular. One of the early entries in the field and among the giants of the New York scene, their first album, Onward to Golgotha (1992), was a pivotal moment in music history. Guitarist John McEntee has been there since the beginning, directing the progression of the band and channeling a path that helped shape the landscape of Death Metal today.
There have been many big albums from veteran bands this year like Testament, Vader, Ozzy, Sepultura, My Dying Bride, Cirith Ungol, and others that were highly anticipated. I am every bit as excited about the new Incantation release because the music on Sect Of Vile Divinities shakes the planet.
We are told in advance that each song on the new album is about a different ancient evil from various places in history around the globe. That sounds like a good place to start and it fits in well with the band’s style and legacy. A good example of a representative song from the set is “Entrails of the Hag Queen,” which has the primary elements of musical creation: heavy decadence, massive riffs, driving percussion, and guttural growls flowing in a thick river darkness. The song slows down and speeds up as the story is told and the theme demands. Some songs are dirge-like throughout, like “Ignis Fatuus.” Others establish a blistering pace at the front and never relent, like “Chant of Formless Dread” and “Fury’s Manifesto.” The song I have listened to the most so far is “Shadow-Blade Masters of Tempest and Maelstrom” because of the way the lead guitar acts like a second voice forming a sinister, twisted duet, and because of the relentless nature of the driving momentum in the rhythm. The closer is “Siege Hive,” and it is an all-out assault on your senses that will make you question your place in the universe. This is a great album.
Out on Relapse Records this Friday, August 21, there are many formats and bundles to choose from that you can grab at the Relapse site or Bandcamp, and the band has their own webstore, too. The new music is as fresh and relevant today as their original work was back then. Highly recommended.
The Webster Theater is on the corner of Crown and Webster Streets in Hartford, Connecticut. It is a long-standing home of heavy music, and on December 13, 2019 – Friday the 13th – there was a perfect storm when Incantation, Watain, and Morbid Angel gathered for a night of Death and Black Metal.
Incantation opened, leading the crowd through warm-up exercises and showing that the band is here to stay. One of the things they are known for is speed and precision, and original band member John McEntree was flawless on guitar and microphone. Long-time drummer Kyle Severn and bassist Chuck Sherwood hit the grooves with John, and lead guitarist Sonny Lombardozzi played like he has been with the band forever. The technical difficulty of the music was matched by the obvious enthusiasm of the band and Incantation turned out to be the perfect veteran group to break the ice during this tour of iconic bands.
The first thing you notice about Watain, long before the band takes the stage, if the creeping stench. You can see the crowd reacting in a slow rolling wave as the odor flows toward the back of the room. It is the smell of rotting fish, and seems to be coming from the skinned heads set on spiked tridents along the front of the stage. They appear to be heads of sheep and perhaps other animals, and they are real, not plastic or props. I was standing in the pit and I can attest – they are real. The stage is dressed with bones and metal, crowded from left to right, front to back. From the audience you could hear intermittent cries of “Hail Satan!” Droning intro music began playing and the atmosphere started to crackle. Something really different was about to happen, and no mistake.
Many of the people in the crowd were clearly huge Watain fans, but this tour almost didn’t happen for the band. Guitarist Pelle Forsberg was detained at the border when he tried to the return to the US from Mexico. Border agents apparently did not like the look of him, and after searching his phone and social media (apparently they can just do that without reason or warrant to non-US citizens at the border), Forsberg was denied entry, his valid working visas was revoked, and he was deported, despite the fact that he had been in the US many times on tours. The remaining members – vocalist Erik Danielsson, bassist Alvaro Lillo, guitarist Hampus Eriksson, and drummer Emil Svensson – eventually were able to enter the US and they embarked on the current tour as a four-piece.
The presence of Pelle Forsberg was, of course, missed on stage but the band gave an exceptional performance. The crowd got the hear the songs they wanted to hear, see the powerful presence of the band, and experience the mystical aura of their one-of-a-kind sound. Watain is as strong as ever, and this tour is seeing peak performances from them, even with Forsberg sidelined.
The stage was cleared once Watain finished and then set up for Morbid Angel. The headliner’s show had a stripped-down look compared to the middle act, and they channeled the extra space into their thundering sound. Morbid Angel is one of the most important and influential thrash bands of all time, and they have evolved over the years into death metal mainstays. I still listen to their classic 1989 album Altars of Madness every couple of months. Founding member Trey Azagthoth continues to play guitar with the sharpest enthusiasm, and long-time front-man and bassists Steve Tucker is truly a force to be reckoned with. For the last couple of years drums have been handled by Scott Fuller and the guitar sound is rounded out by Dan Vadim Von. Together they are a unified vanguard of heavy music.
The band stands mostly in place and roars one monstrous song after another. They opened with a few new songs off the latest release, then thumbed through their extensive catalogue and performed many of their classics. They played thirteen songs (if I counted right) on Friday the Thirteenth. How’s that for on brand? I have seen Morbid Angel before, and they are always great. This Hartford show stands for me, nevertheless, and it is the one I will think about every time I listen to band from now on.
The Webster Theater is a place where metalheads can gather and bands, new and old, can play to appreciative fans. The show last Friday night with Morbid Angel, Watain, and Incantation was a fantastic experience, one for the ages. There are just a few dates remaining on the current tour, and if you can get out to see these three bands perform together, definitely do it. You don’t want to be sitting around moping in the new year sorry you missed out. Highly recommended.