Alice In Chains Spring Tour 2018

If you’ve been keeping up with my blog, you’ll know that Alice in Chains is one of my biggest influences who kick-started my love of metal. Although they have lost their original singer Layne Staley, they continue on with the amazing William Duvall picking on the vocal reins.  I’ll be at the May 3rd show at DC’s latest venue, the Anthem Theater. Even picked up some “Super Excellent Seats” so I’m expecting to get great pictures and footage. Pick up your tickets now because some of the venues are already sold out. I hope to see you all there. Find more ticket information here.

UPCOMING DATES
Apr 28, 2018 House of Blues Boston, MA
Apr 30, 2018 Landmark Theatre Syracuse, NY
May 01, 2018 Massey Hall Toronto, Canada 
May 03, 2018 The Anthem Washington, DC
May 04, 2018 Carolina Rebellion (May 4 – 6) Concord, NC
May 07, 2018 Hammerstein Ballroom New York, NY
May 10, 2018 Coca-Cola Roxy Atlanta, GA
May 13, 2018 Northern Invasion Somerset, WI
May 15, 2018 Riviera Theatre Chicago, IL
May 16, 2018 Morris Performing Arts Centric South Bend, IN
May 18, 2018 Rock On The Range (May 18 – 20) Columbus, OH
May 19, 2018 MMRBQ 2018 Camden, NJ
Jun 21, 2018 Tons Of Rock Festival Halden, Norway
Jun 22, 2018 Hellfest 2018 (June 22 – 24) Clisson, France
Jul 08, 2018 Les Eurockeennes 30 (July 5 – 8) Belfort, France
Jul 12, 2018 Mad Cool Festival 2018 (July 12 – 14) Madrid, Spain

Come Together

The story I’m about to tell you is rather long, but fairly entertaining and ironic, so I beg you to please hang in there.

As you might expect from a ~20 something~ woman, I am an avid tumblr user. Tumblr is a weird microcosm of millennial culture, ranging in everything from shitpost memes to fandom communities to open discussions about crippling mental health issues. For me, Tumblr is a way for me to post things on social media that I’m not comfortable sharing with my friends and family, but somehow have no qualms about sharing it with 1,800 strangers, I mean, “followers”. Millennials make no sense, right?

Several months ago , I’m browsing through Tumblr one night, as per usual, when I come across a picture of Ghost, the first time I had ever heard or seen them. I distinctly remember instantly being freaked out, not understanding who they were, what their image meant, and why it even showed up on my dashboard. I went through the comments, expecting to hear sentiments similar to mine, but alas I saw an abundance of compliments. Best band ever. Their music is fucking sick. Papa is my hero.

So not only did people like their music, but no one else seemed to be freaked out by their image. Let’s set the record straight here. I do not frighten easily. In fact, I’ve been watching horror movies from a shockingly young age and I don’t recall ever feeling afraid or having a nightmare from them. I clear memories of watching Child’s Play, It, and Scream at very young ages, maybe four or five years. My parents always prefaced these movies with a conversation about how the movie is fake and that nothing bad actually happened to the actors.  To most people, this is probably jarring, but knowing from a young age that horror movies were as fake as any other movie made my tolerance for fear very high. But what made me so afraid of Ghost’s image off the bat was the assumption that it was real.  Only later would I find out that their shtick was more so a horror movie than reality.

Feeling like I was unknowingly in an episode of the Twilight Zone, I quickly googled them to figure out what they were about.  A Google image search didn’t help my cause, as I was bombarded with hundreds of pictures of masked figures and a skull-faced Pope.  I admittingly only briefly skimmed their Wikipedia article and saw buzzwords like “Antichrist”, and “blatantly Satanic”,  but decided, based on my five minutes of research that Ghost was not my cup of tea. And that was that.

Until.

A few months later, a video popped up in my Youtube Recommendations. I follow Anthony Vincent on Youtube, who’s famous for doing ten second song covers in the style of different artists, and I’ve pretty much seen every video he’s put out.  In March, he put out a Chop Suey cover in the style of Ghost.

Ghost? Why did they sound familiar? Ah yes, this was the band that scared the living  daylights out of me a few months ago. But funny enough, I really liked this interpretation of Chop Suey, and I thought, “Well, if this is their style, I’d probably like their music then”. I typed Ghost into the search bar and clicked on Square Hammer, which was the first result. I definitely liked the sound and their popularity began to make sense to me. But still, operating under the assumption of reality, I could not get past their image. Maybe it’s just the remnants of growing up in a religious household and being a pastor’s daughter after all. I don’t identify as religious at all, but growing up in such an extreme evangelical household, there’s a lot of things that stick, subconsciously, and only disintegrate if I actively try to unlearn them. So again, I dismiss them, this time a bit more reluctantly since I did like their sound. But still, at the time their image was something I was not able to look beyond. Out of sight, out of mind.

Fast forward to this past summer. My fiance, Josh, is a die-hard Iron Maiden fan. If I’m not mistaken, I believe he’s seen them at least seven times in concert. This past summer they came to Bristow, VA and he asked me a few months before the concert if I wanted to go. I have unpopular Maiden opinions, as I prefer the Paul era to the Bruce era, so I had no interest in attending. He asked me multiple times and each time I laughed and said no. He ends up going with his friends and sends me videos of the concert. I have no interest in seeing Iron Maiden, so at first I was unsure of why he was sending me all these videos.

When he comes home, I ask him how the concert was. He said Iron Maiden was great as always, but that he was really impressed by their opening act. I asked him who opened for Maiden and he tells me it’s this band Ghost that he’s never heard of. Now keep in mind, this was a band that I had dismissed not once, but twice, but goddamn it when I heard they were the openers, I was kicking myself for passing up on that opportunity.  I liked what I heard of them, and I probably would have gone just for the experience even back then if I knew Ghost was Iron Maiden’s opener.

Josh became obsessed with Ghost and started showing me their live footage. A week later, we bought their albums and listened to them nonstop. As I became engrossed in their music and watched dozens of interviews, I then realized that their image was satirical.  As a lover of horror, I realized their image was as real as Michael Meyers or Ghostface. I was no longer freaked out by their image; in fact it became very comical in comparison to the soft spoken nature of the band. We became so obsessed that Josh wanted to see them again, and we bought tickets to see them in Brooklyn on July 22nd, the final date of their American tour. As a birthday present for myself, I bought Josh and I meet and greet tickets to meet the one and only Papa Emeritus III.

Here, we have come full circle. The masked figure I once was terrified of, I am now bombarding with hugs and awkward smiles. The experience was one in a million, like an out of body astral-projection experience that was surreal. When we first made eye contact, he instantly tells me that he loves my hair, with a strong intensity and emphasis. I, completely starstruck, am smiling from cheek to cheek to the point where my face is nearly numb. We took a couple of pictures and as I left I told him to have a great show and he thanked me, again in a way that was super sincere, especially as someone who is donning the role of a character.

Their show was amazing, by far the best show that I’ve ever been to. I was screaming and singing and dancing along the entire time. I was definitely judged by some hardcore Maiden fans, but I didn’t care because I was there to have a good time and support an awesome band who is often so misunderstood. They always end with Monstrance Clock and while it is one of my favorite songs, it’s a bit melancholic because it symbolizes the end. But before they close out, Papa goes into a spiel about the demonization of female sexuality and female pleasure. Specifically he talks about the importance of a female orgasm and that both parties, not just men, should feel fulfilled. The lyrics, are two-fold. Come together, together as one. Come together for Lucifer’s son. From a literal sense, it is about the procreation of the antichrist. From a metaphorical sense, it is about a female orgasm.  Maybe it’s because I’m a Cancer, but hearing them perform it live, knowing this was the end of this magical night, made me feel a bit sad.

My Ghost obsession still lives on and in a lot of ways finding Ghost has been instrumental to reigniting my own musical journey. I touched base about my experiences studying music in a classical, academic setting before, but in essence it was almost traumatic. I went in as a bright-eyed eighteen year old with a strong passion for singing and playing piano, but by the time I graduated college, I felt so beaten down by the criticism and the political games that the students and faculty alike played that I walked out never wanting to pursue music ever again. Going to music school somehow siphoned the love of music out of me for a long time and I didn’t rediscover that passion until I found Ghost. Now I play piano nearly everyday and I’m taking operatic voice lessons again for the hell of it and I’ve experimented with writing my own choral arrangements. I even am learning how to play the bass, which was something I’ve always wanted to learn, but never tried because I felt so afraid of failure.  And then, of course, I started this blog to talk about my love of music.

I think the lesson in all of this is that there is much more than what meets the eye and I shouldn’t always take things at face value. Sometimes the most invaluable inspiration comes from an unlikely source.

If you have ghost, you have everything.

 

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Father Lucifer

My junior year in college I took a Women in Music class, where my final project was to create a 15 minute presentation on a female musician. I knew immediately that the subject of my presentation would be the one and only Tori Amos.

I feel a strong affiliation to Tori, and in my head I imagine we’d be friends, that Tori would be my mentor and I her protégé. Our upbringings are eerily similar in some regards and it makes her music, which sometimes can be so far out of the realm of reality, connect to me in a way that not very many artists can.

Like myself, Tori is the daughter of a minister and grew up in a strict religious household. At a very young age, she started playing piano and was later accepted to Peabody Institute at the age of five, making her the youngest person ever to be admitted into this prestigious conservatory. However, Tori was always a rebel, even at a young age. She had little interest in classical music and would rather play rock music instead. She also struggled with reading music, as she primarily played piano by ear.  At the age of eleven, her scholarship was discontinued and she subsequently left the program.  Somehow, her father allowed her to perform in local gay bars across the DC area as a teenager. Eventually, in her twenties she moves to LA to pursue a music career. Her first musical endeavor, Y Kant Tori Read, a joke off of Tori’s lack of interest in reading music, was not a success. Following the failure of this musical project, Tori released Little Earthquakes, one of the most prolific and artistic albums from the 90s.

Today, her career has spanned over 20 years, with dozens of albums of work to show for it. Little Earthquakes is a genius debut masterpiece, but a close second for me is Boys for Pele.  In this album, she focuses on religion from a female prospective.  In fact, Pele, is a Hawaiian volcano goddess, whom appears to represent the anger within Tori. Anger from failed relationships, anger from being raised in a patriarchal religion, and anger from a previous sexual assault.

For my presentation, I struggled to condense it down to 15 minutes. How do you spend only fifteen minutes talking about Tori’s upbringing, musical influences, and body of work?  I struggled even more with deciding which song and video to show my classmates. It became even more difficult as I learned more and more about her story. I see a lot of myself in her.  As I’ve said on other posts, my father is a pastor and I felt trapped in his religious ideologies. As a self taught musician, I felt honored when I was accepted into music school, but it was also difficult for me. I was bored with the repertoire my piano teacher gave to me and I had no interest in moving my wrists up and down on certain beats or using certain fingers for each note. In the practice room, instead of practicing my piano repertoire, I would learn how to play Enter Sandman or Man in the Box. And I’d much rather learn by ear than read through the sheet music. I’d rather improvise than follow exactly what’s on the page.

I ended up choosing one of my favorite songs, but also probably one of her more controversial pieces, Father Lucifer.  Despite the title, this song is not about worshiping the devil, nor is it about her own father.  After experimenting with psychedelic drugs in South America, Tori met with “the devil”, or rather the darkness within her. Hiding from the darkness, the depression, the anguish within does nothing in the long run. At some point, you have to face it head on. In her own words:

“The idea that Dark is not a scary thing if you go in there understanding there is a purity in Darkness. There’s also a lot of distortion in Darkness. It’s a choice where you want to go, and I wanted to get to the truth, not to the drama and to keeping me from the truth.”

In the bridge, we hear three layers of vocals singing completely different, almost nonsensical lyrics, like “girls that eat pizza never gain weight”, “I got a condo in Hoboken”, “everyday’s my wedding day”. But to me, this represents the cacophony of thoughts in her head that she’s hidden from herself for years.

Tori’s rendition of Father Lucifer on the Letterman show in 1996 is my absolute favorite live performance of this piece. First of all, going on national TV performing a song called Father Lucifer takes major balls.  Then, she effortlessly incorporates The Exorcist theme music into the bridge.  On national TV. When I showed this to my class, they were equally mesmerized as well as horrified. I believe that was probably her goal of this performance.  Self discovery is not always a fairy tale and sometimes we must plunge into the depths of ourselves that we’ve buried inside.

 

 

Listen to Boys for Pele on:

Google Play

iTunes

Kayla Dixon

I often feel like an anomaly. I’m a black female opera singer with a soft spot for metal. How many of us have you ever come across? For me, the answer is very few, if any.  A couple months ago, I started researching metal bands fronted by black women and I came across Witch Mountain and the amazing Kayla Dixon.

After the departure of Uta Plotkin, Dixon took over as the lead vocalist for Witch Mountain. Admittedly, I did not know of Witch Mountain prior to a few months ago, and neither am I particularly familiar with Plotkin’s vocals. In my opinion, Dixon’s voice fits perfectly with the band and puts the blues back into metal. In an instant she can switch from a deep, bluesy belt to a blood curdling scream.  Her vocal range and timbre disrupts the archetype of female metal singers. Today, it is not necessarily as uncommon to see a female fronted metal band as it was in the 70s or 80s, but there seems to be a copy and paste formulaic approach. You’ll often find light, lyric sopranos with resonant high notes that soar over the rumble of the rest of the band. This contrast between light and dark, high and low – it’s beautiful but in some ways it becomes a cliché. Go through your local craiglist and you’ll see metal bands looking for female singers specifically requesting light operatic sopranos. On the other hand, Dixon’s sultry, soulful voice has the raw power and unabashed emotion of some of the greats like Robert Plant and Chris Cornell.

Dixon is also formally trained in classical, jazz, and musical theater and puts a strong emphasis on vocal health, which makes my heart sing (no pun intended). It breaks my heart to hear some of my favorite singers strain, or even worse, develop vocal nodes and lose their vocal ability. It breaks my heart even more knowing that in many cases, it was completely avoidable. Her screams, although piercing and terrifying, sound supported by the breath and not the throat. Her transitions between registers sound flawless and not forced.  Outside of Witch Mountain, she acts in TV shows, musical theater productions, and teaches private voice lessons. She is a jack of all trades, and master of all.

Today, I leave you with Witch Mountain’s new single, Midnight. This slow, but driving  new track is reminiscent of Black Sabbath and Dixon’s vocals really shine through, proving that she is a force to be reckoned with. I am following Dixon Witch Mountain very closely and I’m hoping they make it to the DC area one day.  I can’t wait to see what she has in store.

Follow Kayla on:

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The Truth Is What Remains

It seems like every second, no matter where you turn, the Earth is angry with us. Between hurricanes, tornadoes, earthquakes, and wild fires, we are on the verge of destruction. As an east-coaster, I am no stranger to hurricanes. With the joy of September and reaching the apex of fall comes the acceptance of hurricane season. A few years back, I lived through my first earthquake, which was a terrifying experience. I remember the earth trembling underneath me, growling with every undulation. . .  However, it’s a dream of mine to live on the West Coast and I must accept that natural disasters will become somewhat of a normality.

I belief life is about balance. I balance my desire to live in warm weather year round with the very real possibility that I will live through earthquakes and wildfires. I balance this possibility with my willingness to be able to walk away from my material possessions if push came to shove. . .

Today, I write about Switchfoot, one of my favorite bands growing up. I saved my allowance money and bought as many of their albums that I could find. I remember being very inspired by Jon Foreman’s lyrics and I’d challenge myself to write my own songs and push myself lyrically. As a musician, they’re probably one of my biggest influences even to this day. I eventually saw them in concert twice, in Richmond VA, where I went to college. At the end of their shows, Foreman sometimes has an aftershow somewhere outside the arena where he performs a couple extra songs with and for the fans. Basically having a jam session with a crowd of people. The energy that he and the crowd exudes is indescribable. Foreman is a vessel of light and positivity that radiates onto those around him.

For the past week, If The House Burns Down Tonight has been stuck in my head. The song was inspired after an encounter with a deadly wildfire.

His words tell the story much stronger:

“A few months back, a fire was raging through our home-town of San Diego. And when an unstoppable fire is barrelling down towards your part of town, you realize just how small you really are. The smoke blocks out the sun, the ash is falling from the sky, and your lungs begin to burn. So you run through the house and make a quick grab of the stuff you can carry, make sure that your family is safe in the car, and you make your escape.

And in that moment of action, you have an epiphany:

Compared to the ones you love, what is ownership? What is property? Stuff? Possessions? In moments of life and death, these obsessions are meaningless. Think about what you would save from the fire. What would you fight for? Or maybe the real question is who- who would you risk your life for? And what about your things, all of that stuff that you paid so much for?  In the crucible of the fire, it becomes crystal clear: you let the rest burn.”

 

There’s a line that sticks out to me, that I always circle back to : “There’s a fire coming that we all will go through/You possess your possessions or they possess you”.

In this life, we will all be tested eventually. And in that moment, we have to assess our priorities. Do we prioritize the material – our houses, our cars, our smartphones, our social status, our notoriety? Or do we prioritize our lives and the lives around us? If your material possessions dictate your state of happiness, what do you choose in the face of emergency?

Life is about balance. It’s okay to live in a nice house and drive a nice car and buy the latest iPhone. But when push comes to shove, we have to be okay with letting things go.  Wherever this afterlife takes us, surely we cannot take our possessions with us.

The truth is what remains.

Listen to If The House Burns Down Tonight On:

iTunes

Google Play

P.S: The featured image is a picture I took of Jon at the aftershow.

 

 

Surrounded by Confusion

Let’s take it back to 2011, when Charlie Sheen was still “winning” and when the iPhone 4s was the hottest phone on the market. It’s hard to believe that time passes so fast. And with the always decreasing attention span of the masses, our memory quickly erases the past and replaces it with the most current trends.

They say there’s no such thing as bad publicity. Obviously, the people who recite this mantra have not seen To Catch a Predator. Jokes aside, being in the spotlight for bad reasons can somewhat be an asset for public relevance. In a world where we are constantly bombarded with the next big thing, being replaced and forgotten is a very real possibility. Justin Bieber, who could have faded into child star oblivion, kept himself as a hot topic of the public eye by constantly upping his bad boy image. His bad behavior was rewarded and it elevated him to a legendary status.

However, bad publicity does not always work in your favor. 2011 was the birth year of Rebecca Black’s Friday, which was dubbed one of the worst songs of the year. Black eventually released a follow up video a few years later where she self reflects and laughs at her infamous song. Her self awareness is endearing and we are reminded of the fact that she was only 14 when that song came out. As annoying and meme-worthy that the song was, it has become a relic of the past that memorializes 2011. In short, Black did bad in a good way.  Sure, Friday was horrible, but it was catchy and lighthearted. It was the kind of video you couldn’t help but share with your friends. Say what you want about Rebecca Black, but at age 14 as an unknown artist, Friday has 113 MILLION views on Youtube.

Earlier I said Friday was named one of the worst song’s of 2011. So what song was labeled even worse than Friday?

I present you with Design The Skyline’s Surrounded By Silence.

Apparently, Design the Skyline considers themselves to be a mathcore/hardocore band. This song is almost indescribable with words. You have to listen to it to fully understand how much of a cacophonous train wreck it is. The title of the song is quite funny in that after listening to the song, all you would want afterwards is complete and total silence.

Cheesy synths, over the top screaming vocals, random breakdowns, and copious amounts of auto-tune – it’s just fucking confusing to listen to.  What strikes me the most about this song is the overwhelming lack of structure. Even in the most undecipherable black metal, underneath the distortion, the growling, and the ruckus there exists a structure to hold the piece together. That’s one of the beauties of the genre. To make something so organized sound like chaos.

There is no repeated riff, no verse, no chorus, no bridge, no commonality between any sections. It sounds as if each member of the band wrote a few bars and meshed it all together without any thought and planning.  Without structure, a song will just sound like noise.

Surrounded By Silence did not reach the popularity that Friday did, because frankly this song is unlistenable. Even though it was regarded as the worst song of the year, it was overshadowed and it lacked the charisma of Friday for the band to take advantage of its negative press. Perhaps that is due to the fact that Friday was a failed attempt at a pop song, which obviously is more mainstream than a failed mathcore song.  But at least Friday was a clearly structured song with a distinct verse, hook, chorus, and bridge. Don’t get me wrong. I’m totally here for complex music that has a unique structure; in fact, I’m a fan of progressive rock. But musical complexity is not synonymous with throwing together as many different riffs, time signatures, and breakdowns into a 5 minute song as you can. Mastering musical complexity takes nuance and restraint; it is a balancing act that not many can achieve. Design the Skyline eventually broke up but recently reformed. Like Black, they were also very young when they released this song, and I’m giving them the benefit of the doubt that they probably matured as musicians over the past six years.  At the end of the day, despite the negative criticism, the band still stands behind this song and you’ve got to respect their conviction. At least they live in their truth. One man’s ruckus is another man’s masterpiece.

 

Nasty Gals Unite

Let’s talk about Betty Davis.

No, not Bette Davis, the actress, aka the subject of Kim Carnes’ hit song.

I’m talking about Betty Davis, the mother of funk. Originally, she started out modeling in New York, where she met Sly Stone and Jimi Hendrix, foreshadowing to her future career in music.  As gorgeous and buxom as she was, modeling did not entertain her.  She eventually married world famous jazz trumpeter Miles Davis, who dedicated an album after her (Witches Brew).

When she released her self-titled album in 1973, she took the world by storm. Heavy, sensual bass lines, guttoral singing, and overtly sexual lyrics – all of these are the antithesis of ladylike, especially in the 1970s. Now throw in the racial tension of the 1970s and you have a recipe for a commercial flop.

Yet, even with racism and sexism working against her, Davis managed to release one of the most prolific albums that paved the way for an entire genre of music. She paved the way for female musicians navigating a boy’s club genre. She paved the way for black women to express their sexuality through music, in a way that was authentic, and not a performative fantasy of record company executives.

Still, to this day, Davis proves to be a controversial figure of the 1970s. While some argue she’s a prolific figure, others say she was over-hyped – that her image did not match her voice. I’d agree, Davis was no Diana Ross, no Donna Summer, no Aretha Franklin. In fact, Davis used her voice in a way that was almost non-melodic. She was moreso growling than singing. But it is the passion and conviction in her voice, the way she sings about her sexual wants and desires in a bold, unabashed way that makes me overlook the aesthetics of her voice.  While other female singers tend to take the coy approach, Davis tapped into the animalistic nature of sex and desire. She knew what she wanted and she made sure everyone in the room knew too.

Today, I leave you with Nasty Gal, which inspired Sophia Amoruso’s clothing line of the same name. Give it a listen. Whether you love her or hate her, it’s impossible to forget her.

 

 

Listen to the entire album Nasty Gal on:

iTunes

Google Play

 

Solitude

I first heard of doom metal when my coworker proposed an idea for me to play organ in his self proclaimed “heavy, depressing, doom band”. I’ll admit, at the time it did not seem very appealing at the time and I politely declined.

A couple years later, I stumbled upon a video of Oceans of Slumber covering Solitude by Candlemass, which admittedly was the first time I had even heard of Candlemass. This prompted me to seek out the original version and I was immediately mesmerized. Between Johan Längqvist’s strong vibrato and the dark, at time melodramatic lyrics connected me to a very familiar place . . .

Opera.

As a voice major in college, I was trained in classical voice and I sang a variety of arias, masses, art songs, and oratorios. My love of opera started when my high school choir teacher took us on a field trip to see Puccini’s Madam Butterfly at the Virginia Opera House. Immediately, I fell in love with the artistry, the impeccable mastering of the human voice, the sensationalism. Spoiler alert: After being strung along by a married man, Madam Butterfly kills herself to end her heartbreak. Not before singing a dramatic aria first, of course.

This is pretty common in opera. Perhaps one of my favorite arias is Thy Hand Belinda also known as Dido’s Lament, which immensly reminds me of Solitude. In this aria, Dido is heartbroken that her love has left and betrayed her, prompting her to sing one of the most devastating arias of all time.

 

When I am laid in earth/ may my wrongs create no trouble/ Remember me/ But ah! forget my fate.

And then, in true opera fashion, she stabs herself and slowly dies as her love sails away.

Solitude presents this same subject matter in a very similar manner. “I long for my time to come/Death means just life/ Please let me die in solitude”.  Honestly, Solitude could be Dido’s aria in an updated, angsty re-imagining of Dido and Aeneas.  Besides the lyrical aspect, Candlemass, as well as other doom bands, often embrace operatic vocals, which further exaggerates the despair. There is no subtlety in opera and likewise, there is no subtlety in doom.

Unfortunately, in the US at least, Candlemass is far from being a household name.  Perhaps they got lost from public memory in the landslide of prolific bands that dominated the 80s’. Nevertheless, Epicus Doomicus Metallicus is arguably one of the most important doom albums to date, as it paved the way for doom bands to follow. It’s legacy deserves to be remembered, not to die in solitude.

Listen to Epicus Doomicus Metallicus here:

iTunes

Google Play

 

Oh, Devil Man

Sometimes I hate being a child of the 90s because I missed so many prolific genres and artists in their heyday.  I will never be able to hear Janis Joplin or Jimmi Hendrix perform live. The closest comparison my generation has to Woodstock is Coachella, which these days seems more like a fashion show than a music festival.

From a musical perspective what impresses me most about the music of the 60s & 70s is the vocals’ raw emotions. It’s like you can feel every ounce of pain in each note. As a vocalist myself, I tend to gravitate towards strong, powerful vocals. This preference, coupled with my love of the 70s, made several people suggest for me to look into blues rock.

Blues and rock music share many common threads. The blues, in its height, was regarded to as “the devil’s music”.  In fact, I would argue that the blues was the original rock and roll. Like rock and roll, blues musicians sung about sex, drugs, and alcohol. However, where blues differs is that these topics were approached in a more melancholy and desperate way, as opposed to the unabashed hedonism of rock music.

The Devil’s Music reputation isn’t completely unwarranted, however. Blues singers often spoke about the devil fairly regularly. Robert Johnson’s Me and the Devil Blues tells the story of the devil collecting the singer’s soul.

“And I said ‘hello Satan’/ I believe it’s time to go/ Me and the Devil was walkin’ side by side/And I’m going to beat my woman until I get satisfied”

Whether Robert Johnson actually sold his soul to the devil or if the devil was just a metaphor for the price of fame and success can be left to personal speculation. However, the parallels ring clear. Eventually, the blues began to die out, but later birthed rock and roll. 

The first modern day blues rock band I stumbled upon was the very aptly named Blues Pills. If done wrong, psychedelic/blues rock bands can appear as a caricature of the genre. When done correctly, they can transport you back to a time when gas was $.30 a gallon and the LSD was strong. Blues Pills have successfully blended a retro sound with a modern touch, making it clear that they draw influence from the 70s’ without sounding dated and satirical.

Elin Larsson is a bright shining star; she’s a force to be reckoned with.  Who would have thought that such a gritty, powerful, soulful voice would come out of a tall, model-esque Swedish woman? It is apparent that she does her homework and draws influences from some of the greats, like Aretha Franklin, Marsha Hunt, Big Mama Thornton, and Etta James.

One of their stand out tracks for me is Devil Man. Larsson starts out wailing a capella in almost a recitative, warning us about a supremely evil man. The band later joins in and matches her power tenfold and the track unfurls into powerhouse track.

Blues Pills currently tours mainly in Europe, but let me tell you; I cannot wait to see the day where the tour in America. There’s a lot of blues rock bands out there, but the problem is that, with blues, you have to mean it. Whether you’re singing about depression, or drinking yourself to death, or selling your soul to the devil, you need to sing it like you fucking mean it. I believe every word Larsson sings and that level of authenticity is unteachable. It comes from actively listening to the greats that came before. Balancing that inspiration, while maintaining your own artistry is no easy feat, but she treads those waters flawlessly.

Blues Pills, if you ever come to the DC area, I hope that you will see me front row and center.

Listen to Devil Man on:

Google Play

iTunes