Reviews of: Circle Jerks, Cult of The Psychic Fetus, Entombed, G.B.H, Iggy and The Stooges' reunion gig in Detroit, Impotent Sea Snakes, Lil' Ed and the Blues Imperials, King Diamond, KISS, Nocturne, Nuclear Assault, Jon Oliva's Pain, Samael, and Type O Negative. 

Cult of The Psychic Fetus
The Labrynth
Detroit, MI

Photos by: David Necro

With a look that suggests the best of cinematic horror, and music that could (and should) be the soundtrack for such movies (as well as anything surreal in nature,) Cult of the Psychic Fetus managed to put on a mad swingin' monster bash on this evening in Detroit. The main elements here were Reverend Doom's (who bears a striking resemblance to Nosferatu) beyond the grave vocals, a most unholy bellow that is remniscent of both The Damned's Dave Vanian and the Cramps' Lux Interior. Speaking of the Cramps, if and when they decide to hang it up, this band would be at the top of my list as a fitting succesor. Guitarist Ghastly, with his undead James Dean image, sent chills up and down the spines here with textured chords and ominous riffs that never fell short of captivating.

Bassist Lord Erik drove the proverbial stake thorugh the hearts and minds with simple yet driving bass lines. Basically, this is a very underrated band that expertly puts forth an actual aura of foreboding, and they aren't trying too hard to do this to boot. That's where most with a similar look fail, plus they are way too pretentious and take themselves way too seriously. Cult of The Psychic Fetus is neither of those, and their presentation is very well put together and it appears that a lot of thought and design went into it. The blend of Gothic Rock, Rockabilly, and Punk is a most ghoulish delight, and I look forward to seing these fiends haunt another establishment in the future. -David Necro

GBH/Circle Jerks
The Factory
Ft. Lauderdale, FL

Photos by: David Necro

Ok, first of all, FUCK RADIOHEAD. GBH is a band that represents the legacy of real British rock n' roll (directly descended from the from the first-ever British punk band, Johnny Kidd and The Pirates.) No limp-wristed affairs here; this was heavy, fast, and unpretentious punk (with a good dose of melodies and choruses) that never was boring or trite. Total energy here, that bounced off the walls and rattled brains, coupled with the stage antics of lead singer Colin Abrahall (who makes it a point to sing to the audience rather than at them,) and the hair-raising guitar of Jock, who certainly is 1 of the most underrated punk guitarists.

At times it was like getting run over by the Blitzkreig. Simply put, they layed it down and then some; the diverse crowd that attended lapped it up and begged for more. GBH has been doing this for almost 25 years, and tonight was no exception. Blood and guts straight from the deadly streets of Birmingham, England; questioning authority and taking no prisoners. It was very real, from their true punk look (a bit toned down from the 80s as you can see) to the wall of sound they created. They are very much like Motorhead in this respect, the main difference is Motorhead is much more bluesy and are even heavier and louder. Nevertheless, GBH proved their relevance and importance not only to Punk but again, to the true legacy of British rock n' roll. Last but not least, their cover of "I Feel Alright" still stands as the best Stooges cover to date.

No less engaging were the Circle Jerks, churning through the old classics with zeal including a cover of 1 of the best Black Flag tunes, "Nervous Breakdown." Very appropriate, as singer Keith Morris was the original singer for that band.

Regarding him, his between song rants were calssic, ranging from the humourous to the intellectual. He could seriously give his friend and colleague Henry Rollins quite a challenge in the spoken-word arena. My personal favorites were a well-deserved slam against the "pop-punk" crap that's been polluting the airwaves and the minds of the world, and letting the audience know that it's all about us versus them. I couldn't agree more, and that's 1 of the basic mantras that anyone who is into punk or heavy metal or gothic should be following to a T. Othwerwise the scene will die. It's true.

In conclusion, this was a very ghoul night of "old-school" punk, a reminder of what once was yet pointed ahead to the future. -David Necro

Iggy and the Stooges
DTE Energy Music Theatre
Clarkston, MI.

Photos by: David Necro

 “Whoever threw this bottle at my head, you nearly killed me…but you missed again. So, you’ll just have to keep tryin’ next week” (breaks bottle) –Iggy Pop


 Those were the last recorded words (and sounds) by this now-legendary band. Of course that is documented on the “unofficial” (now pretty much official) live LP, ‘Metallic KO.’ That was February 9, 1974 at The Michigan Palace in Detroit…everything but the kitchen sink (well, maybe even that too) was hurled onstage by the audience, and it was the last the Motor City (and the world) would see of Iggy and The Stooges. Ironically enough, the band was at its’ height in popularity. All accounts say that this band was a living, breathing beast, the prototype for all of modern rock; Punk, Gothic, Metal, Shock-Rock, what have you. Just ask David Bowie, Alice Cooper, and Marilyn Manson, among others. But what happened after ’74 was the card-carrying followers came at the right place at the right time. They stole the look and imagery, the drugs, the riffs, the lyrics, but they couldn’t steal the energy and the attitude. Not 100 percent. Even Iggy Pop’s solo career, which began in 1975, doesn’t measure up completely (due more to his bands than him). Why am I saying this? Because The Stooges came from true emotion and quite frankly were all too real for both the music biz and for most audiences. There was no acting involved, and no copying of influences too closely and such. The band got very little breaks, scared the shit out of both the hippies and authority figures, and they figuratively (at times literally) scratched and clawed their way to rock n’ roll infamy. Also, it must be said that The Stooges were a true product of their environment; capturing the sounds of the Detroit-area industrial complex, and this before “industrial” was even a genre. And they did it with real instruments to boot. They captured their (and an entire nation’s) boredom, anger, and frustration perfectly. Raunchy sexuality played a role as well. The dark corners of the mind were explored. It was new and it was unlike anything heard prior to August of 1969 (when the first album was released) until that fateful night in 1974.

It still is…almost 30 years later.

Well, boils and ghouls, Iggy and The Stooges are back. Yeah, the reunion no one thought would happen. Ron Asheton and Iggy Pop hated each other with a passion, right? Well, shit happens, and I would guess that time heals all wounds. Life’s too short. Plus, let’s be honest, the money must be damn good. Anyway, this gig, their homecoming, would prove this: the beast has awoken and is out for vengeance. You may laugh at that last statement, but it’s true…

With the scent of marijuana and hamburgers penetrating the humid air of this Northern suburb of Detroit, Iggy and Stooges hit the stage. It was intriguing in the way that they did so. It was very pedestrian, as if they never had stopped playing. Yet there was a forcefulness, a purposefulness, behind it. Once Iggy Pop grabbed that microphone, all Hell broke loose, and something that I’ve never seen at a concert before, not even Iggy’s solo gigs; everyone was on the same page and was overcome with emotion… some more than others. Group therapy? Yep, pretty much. I’ve never seen such a party time atmosphere at a concert to date. It was a Detroit breakdown. Punks, Goths, Glam Rockers, Headbangers, the young and the old came together on this night. A testament to the power and influence of this band, and to the legacy of Detroit rock n’ roll. It’s cliché, but the notion that you were transported into another dimension was strong. Whether this was real or imagined, something was there. And a city that has been through riots, recessions, and most recently, a horrendous blackout (which caused this gig to be rescheduled) had the proverbial yoke lifted off of it by this band. This was larger than life, and way beyond the garage.

 As the set wore on, the intensity kept building and building; like a cobra ready to strike at any moment. Much credit must be given to Ron and Scott Asheton here. Many bands, some famous, and some not so famous, have covered these songs. But, no one plays ‘em like the Ashetons. The twin towers may be gone, but these “twin towers” of lead guitar and drums shone brightly. Not even a blackout could stop ‘em, and I don’t think that asshole Osama bin Laden could either. They were men on a mission it seemed. To prove after years of toiling in the underground, who the real architects of this music are.

New Stooge Mike Watt (ex-Minutemen, FireHose) replaced dearly departed original bassist Dave Alexander quite admirably. Steve McKay, the sax player on the ‘Funhouse’ album, did his thing as well by recreating (with a zeal) his classic parts on ‘1970’ and the title track. Speaking of which, all of the shades and colors of the studio albums were recreated, but with unheard of textures and colors added. Taking these songs to further and further heights. It was as dark, loud, and menacing beyond my and, I suspect, many others’ expectations. Gone is the make-up, the Nazi regalia, the peanut butter, and the bloody champagne glasses. Well, the music is what counts, and that more than made up for these past glories. This band is 1 of the few who can pull it off without a stage show to speak of. However, it would have been nice to see that! Although there were some signs from the past with the beer cups and beer bottles heading towards the stage. Interestingly enough, none made their mark. They missed again…

And Iggy? Once again, he had ‘em eating out of his hand, and father time has been kind to this man. A group of teenage girls standing next to me were obviously excited by his presence. Especially when his ass was hanging out of his pants near the end of the gig. He’ll probably make the chicks all wet when he’s 70, and you’re damn right I’m green with envy. How he manages to be all over the stage, humping the top of the amps, diving into the crowd, being caught in the middle of a bum rush (which he initiated), and never missing a beat is beyond me. There won’t be another like him, not in this lifetime. Iggy was and is the leader of this madness, and madness he delivered. He is the rock n’ roll animal. However, I appreciated the fact that he concentrated more on his singing than on his theatrics. Probably the best or, at the very least, one of the best performances I have seen to date. I think this reunion is good for him and Ron, Scott, and Mike have pushed him to new highs (and new lows). To top it off, Iggy let us know that he loves us, and that he’s not a fuckin’ product. That’s fuckin’ right.

Now let me say this; at the risk of committing journalistic suicide, bands such as The Damned, Christian Death, Sisters Of Mercy, Bauhaus, Sex Pistols, Lords of The New Church, Ramones, Misfits, 45 Grave, Slayer, Motorhead, even rock warlords such as David Bowie, Alice Cooper, Black Sabbath, Marilyn Manson, and KISS can’t hold a candle to this. Don’t get me wrong, all of these artists are great, I give them my utmost respect, and all of them are influenced by Iggy and The Stooges. But, they still fall short. It’s true.

The Funhouse has re-opened its doors…”we’ve been separated baby far too long.” If you were there, you know what I’m talking about. If you have yet to see this, get ready for the ride of your life…and your death. Step inside for a real-o-mind experience! heh-eh...  -David Necro

Impotent Sea Snakes
The Factory
Ft. Lauderdale, FL

Photos by: David Necro, Ken9

Glam Rock has been a misunderstood genre over the years. There was the original scene from the 70s where the biggest attractions were David Bowie, KISS, T. Rex, Mott The Hoople, Sweet, and last but not least, the New York Dolls. Less popular acts such as Silverhead and Wayne County also played a role. It was sleazy, androgynous, and outrageous, with elements of science fiction and comic books in there for good measure, as well as a touch of the bizarre. Not just that, the music was catchy yet it rocked like Hell. Some of the best stuff from the 70s to be sure. Then in the 80s, you had the L.A. explosion spearheaded by Motley Crue and Poison, while obviously being inspired by most (if not all) the above acts, it wasn't nearly as good in comparison; watered down, and not as interesting, derivative even. The lines were blurred then, and people (as well as most of the media) started calling this stuff heavy metal when very little of it (if any) sounded anything close to say, Iron Maiden or Black Sabbath.

Real Glam Rock (like many other genres) went underground after it's commerical heyday in the early to mid 70s. One such band strutted its stuff on this hot and sticky night in Ft. Lauderdale, The Impotent Sea Snakes, who hail from the back alleys of Atlanta, Ga. They looked and sounded straight from the original glam scene of the 70s with their buzzsaw guitars, and a stage show that includes all of the members in drag, a stilt-walker and topless dancers engaging in sexual play.

Basically, an S&M club meets a drag revue reminsicent of some of the weirdest and wildest scenes from 'The Rocky Horror Picture Show.' But more than that, the Impotent Sea Snakes serve as a reminder of a time when it was all about "sex, drugs and rock n' roll." One big, debauched wild party. It's definitely the antidote to what we see nightly on the 6 o'clock news as it's pure escapism from the grind of everyday life. That rings loud and clear with yours truly. Because life is too short, so let's let it all hang out while we're around. Such was the vibe (not to mention the cigs and booze) that filled the air as the last chords of their killer covers of "Rock and Roll All Nite," and "People Who Died" rang out of the amplifiers. -David Necro

King Diamond
w/ Nocturne and Entombed
The Culture Room
Ft. Lauderhell, FL

Photos by: David Necro

Yes, an evening with the King. On this night, King Diamond presented Metal at its blackest and of course, Satanically majestic. This evening's theatrical theme revolved around his latest album, 'The Puppet Master,' set in 18th century Budapest, Hungary. Tunes from this album were played and did not fall short of his classic tracks.

Speaking of which, my favorite of those, "Sleepless Nights," stirred something in my undead soul. It was a heightening of feeling and emotion; dark or otherwise, as was this entire gig. With an excellent supporting cast (longtime guitarist Andy LaRoque, bassist Hal Patino, Mercyful Fate gutiarist Mike Wead,and drummer Matt Thompson,) the playing was tight but loose, melodic yet chaotic. A near flawless performance, as they played these deadly compositions with aplomb, and did them justice. As far as King Diamond himself goes, the man just radiates an eerie, manacing, and macabre vibe.

He doesn't even have to try, as it appears to come from within. His vocals are a matter of taste, yes, but it connot be denied that the envelop you and command your undivided attetntion. Don't forget Grandma either; she was there, keeping an eye on things.

Opening acts Nocturne and Entombed were no slouches either, with Noturne providing dark, industrial metal with sex appeal in the form of lead singer Lacy.

Entombed showed that thrash metal is still a vital and important genre as they were absolutely brutal and nearly upstaged the King in a musical sense.

All in all, a bloody good night with wall to wall creeps. 1 that was reminiscent of the ghoul old days. -David Necro

Set List (King Diamond)

Intro: Funeral
Mansion In Darkness
Family Ghost
Black Horsemen
Intro: Abigail 2
Mansion In Spirits
(outro)....Sorry Dear
Eye of The Witch
Sleepless Nights
Puppet Master
Blood To Walk
So Sad
Welcome Home
Invisible Guest
Burn
Encore:Halloween No Presents For Xmas

KISS
Sound Advice Ampitheater
West Palm Beach, FL

Photos by: David Necro

Controversy doesn't seem to escape this band. Not only did they decide to put the leather and greasepaint on for yet another tour (after saying "farewell") they did so without original guitarist Ace Frehley (and they're going out without Peter Criss once again soon) replacing him with long-time KISS employee (and ex-Black N' Blue guitarist) Tommy Thayer. This resulted in a division of sorts in the KISS Army, 1 side pro-Gene, the other pro-Ace.

With the rest either seeing both sides or taking none. On top of this, you had Aerosmith on this tour as a headliner, a band that is a shadow of their former selves, musically speaking. Despite this, as they did with the 'Farewell Tour,' KISS managed to wipe away the frowns from the first note to the last, putting on yet again another high-energy and sexually charged performance. Whether it was the 'Alive!' tour replica costumes or not, KISS managed to offer more than mere glimpses of that era on this nite. Maybe it was something to prove by being relegated to an opener that brought back the fire that allowed them to blow away the headliner just as they did back in '74 and '75. As well as something to prove by having a replacement in Ace Frehley's 'Spaceman' character.

Gene just seemed to be more wild and ghoulish, Paul more energetic and obnoxious, and Peter more forceful. As far as Tommy Thayer goes, well, he was surprisingly better than I expected, nailing every riff and solo with precision.

However, something was missing, maybe it was just too perfect as it did lack the emotion and fire that Ace Frehley can provide on a good night (which admittedly is rare.) But as it was, KISS proved the critics and the doubters wrong once again, and lit the joint up like a fuckin' Xmas tree.

As always, they did by being very fuckin' loud, theatrical, and over the top. However, like with the 'Farewell Tour,' a more intersting and diverse set-list would have been cool. How's about it, Gene? -David Necro

Set List:

Detroit Rock City
Deuce
Shout It Out Loud
Let Me Go, Rock N' Roll
Do You Love Me?
Firehouse
I Love It Loud
I Want You
God Of Thunder
100,000 Years
Beth
Love Gun
Rock and Roll All Nite

Nuclear Assault
Galaxy Theater
Long Beach, CA

It’s about damn time! After almost a ten-year hiatus, Nuclear
Assault embarked on a small tour in support of the new live album, Alive
Again, recorded at one of the first reunion shows back in 2002. Released
back in ’93, Something Wicked was the last recording before the band split.
To say the least, hearing this brand of music again was like a fresh start.
 I must say, it felt a bit odd watching these guys perform at the Galaxy,
what with the various strobe lights and sporadically placed chandeliers
hanging from the cathedral ceilings. It was the equivalent of attending an
opera at the Whisky A-Go-Go. Nonetheless, a great set.
 One thing many people tend to ponder is the case with opening acts.
90 percent of the crowd never even likes the opening acts. Is it nearly
IMPOSSIBLE to book bands that are even remotely similar in style? Sad as it
is, most people tend to stick to one type of music. This was apparent when
All That Remains and their occasional hardcore elements were mocked by many
people in the audience. Why this always happens will remain a nagging
mystery. But of course, this only made everyone even more thrilled when
Nuclear Assault finally emerged. There was no “stage show”, and there were
no obvious choreographed stunts pulled. While these things are for the most
part amusing and entertaining, you can’t replace the natural charm and
vitality of a band that just gets up there and does their thing. An
overwhelming sense of energy hovered over the entire room, as if the
80s were back again and ready to take everyone on, and it was
completely worth the aftermath of throbbing eardrums and an overall feeling
of being hit by a truck. What would a metal show be without a sore as hell
body?
 Whether or not you are a fan of the band, or even thrash in general, it
would be ignorant not to hold the greatest amount of respect for bass
player Danny Lilker. How can you NOT NOTICE this man? Other than the fact
that he is an exceptional musician, he is an entertaining one. Very chatty
with the crowd, which is rare these days, and throwing forth contagious
enthusiasm for the music he was a huge part of. Having blamed his
involvement in numerous bands at once on a “short attention span” in the
past, it’s a wonder he keeps his sanity at all.

 It was quite apparent what the fan favorites were. “This is a song from
Handle With Care.” Deafening applause. “This is an old one from Game Over.”
Even more deafening applause. Nuclear Assault have cultivated themselves a
very dedicated fanbase, there’s no question about that. Along with the
introduction of new guitarist Erik Burke, John Connelly’s wailing and
Lilker’s ranting made for a very entertaining show. Currently at work
writing the new album, we can expect to see much more of these guys in the
near future. And THAT, my friends, would be a very good thing. -Ava

Jon Oliva's Pain
Boomerz Boiler Room
Seminole, FL                 
Photos by: Mark L.  

For anyone who wasn't there, you missed ONE HELL OF A SHOW!!!!!!! Jon Oliva's Pain kicked off their 2004/2005 World Tour on this unholy night in Seminole, FL ( this is the Tampa, FL area.) Let me just say that I have seen a lot of concerts and this one, ranks without a doubt, as one of the best I have ever seen, PERIOD!!!!! The lineup is Jon Oliva - Lead Vocals and Keyboards, Matt LaPorte- Guitar, John Zahner- Keyboards and Vocals, Christopher Kinder -Drums, Kevin Rothney - Bass and Vocals, and Jerry Outlaw- Guitar. The concert started out with Alice Cooper's 'Hello, Hooray' playing, and toward the end of that song,  Jon Oliva's Pain walked out on stage, with the lights dimmed. When the lights went up, the crowd went absolutely nuts. This was one good sized crowd, all together in unity, all enjoying one of the best concerts in recent memory. This was a concert that will rival anything else out there currently, and  it will go down as one of the 3 best concerts I have ever seen. They played for well over 2 hours and ripped thru 21 songs with the technicality, talent, and total class one would expect of Jon Oliva, and as on his album, he has outdone himself.

The entire band outdid themselves as well. There are many bands that do not sound as good live as they do on album. There are some who sound just as good live as they do on album. Very rare is the band that sounds better live than they do on album, which is no small feat. Jon Oliva's Pain is one of these bands. The new album 'Tage Mahal' is the best thing Jon Oliva has ever done, and when seeing them live last night, they proved to me and everyone there, that they are not only as good as the album but much better live. The sound was crystal clear(good job done by the sound man) The vocals were crisp and clear, the guitar and bass lines were very distinguishable, as were the drums and keyboards. They were not off one single note all night. The interaction with the audience was second to none.

Jon was very animated on stage when he was standing up singing, and that really helped put you right into the storyline of each of the songs. They really had fun on stage last night. This was not an act. They really enjoyed what they were doing and it showed. This was the total Hard Rock/Heavy Metal experience that has been missing for so long. You can put ANY member of this band up against anyone else out there and they will hold their own and then some!!! The guitar work was some of the most memorable that has been seen in quite awhile, as was the bass playing, drumming, and keyboard playing. And the vocals were just incredible. Just before the last song of the night 'Hall Of The Mountain King', Jon Oliva said "let's see if the old man still has it".
He proved last night that he never lost it. He just keeps getting better and better with age. There were several comical moments, such as when a fan threw a Santa hat on stage.

Jon put it on and proceeded to sing and play keyboards and have a great time. I am unsure of only one thing: I am not sure who had a better time on this night-the band or the audience.
What is for sure is that no one left feeling disappointed or ripped off. On a scale of 1 to
10, I give this one a 15. Seeing Jon Oliva's Pain live goes far beyond anything that can
possibly be put into words, it is just that phenominal!!!  Way to go guys!!!!!!!!!! -Mark L.

Set List:

All The Time - On the 'Tage Mahal album
Gutter Ballet
No Escape - 'Tage Mahal
Hounds - For "Dimebag" Darrell Abbott
Jesus Saves
Tonight He Grins Again - For Criss Oliva (pictured right)
Guardian Of Forever - 'Tage Mahal
Nowhere To Run - 'Tage Mahal
Father, Son, and Holy Ghost - 'Tage Mahal
Alone You Breath
Thorazine Shuffle
Ghost In The Ruins
The Dark - 'Tage Mahal
People Say-Gimme Some Hell - 'Tage Mahal
Walk Alone - 'Tage Mahal
Believe
City Beneath The Surface
Dungeons
Sirens
Power Of The Night
Hall Of The Mountain King

Lil’ Ed and The Blues Imperials
Skipper’s Smokehouse
Tampa, FL

The last time I saw Lil’ Ed was in 1996 and I was completely blown away then. This time even more so. Lil’ Ed and The Blues Imperials are touring in support of their current album ‘Head’s Up’. They played on a cold winter’s night and warmed up the entire audience. The guys played 2 sets, with a small intermission, and went over 2 hours. Lil’ Ed covered everything thru his career, from the beginning to the current album. They did such songs as "Mastercharge", and "Chicken, Gravy, and Biscuits", and Blues masterpieces such as Tampa Red’s "Shake That Thing" and John Lee Hooker’s "Boogie Chillen". Ed even came out into the audience and played and everyone loved it. There is not a livelier guitar player out there than Lil’ Ed. It is Lil’ Ed Williams on lead guitar and lead vocals, James "Pookie" Young on bass, Mike Garrett on rhythm guitar, and Kelly Littleton on drums. You would be hard pressed to find a more complete, more talented band than Lil’ Ed and The Blues Imperials. This concert ranks in my Top 5 of all time greatest concerts that I have ever seen. At 49 years old, Lil’ Ed can out play and out perform guys half his age. They were dead on all night. Without a doubt, Lil’ Ed and the Blues Imperials made fans out of everyone there, and those of us who were already fans became even more so. He played on his tip toes, on his back, and everything in between. The band became one with the music, just as Ed became one with his guitar and his guitar became a part of him. Just incredible, just absolutely incredible. This is why Lil’ Ed is the greatest living slide guitar player, PERIOD!!!!!!! Without a doubt, Lil’ Ed and The Blues Imperials are the Greatest Houserocking, bottle neck, boogie, blues band in the world, PERIOD!!!!!!!!! I give this concert 5 out of 5 guitar slides, 10 out of 10 stars, and an A++!!!!!!!!!! -Mark L.

Samael
Galaxy Theatre
Santa Ana, CA

Samael portrays an extreme form of beauty, a form that is all too often
over-looked these days, most notably in music. It is beauty in its purest
state, at once intriguing, then suddenly passing you by. It never is quite
possible to distinguish between light and dark, freedom and oppression.
Samael have, over the years, put this solid truth to otherworldly music.
And in doing so, they have soared high above their peers.
 Just as on record, the men of Samael in the flesh are magnetic and almost
unreal. There is no pretentious onstage banter, nor over-bearingly tacky
stage show. Combining the spiritual and philosophical with an almost tribal
element, Samael were able to transform an average night into one that
invoked thought, memories, and inspiration. Mainly newer material was
performed, including Infra Galaxia, Together, and The Cross. As expected,
the elements in these songs have carried over into the ‘Era One’ material,
which was played before the show. This is not to say there is nothing
surprising present, however. The only real let-down came with the exclusion
of the hypnotic Supra Karma, though the drunken trash yelling for ‘Worship
Him’ was most likely far more devastated. With a few exceptions, it is safe
to say that most Samael fans are able to appreciate and understand the new
direction, to hear ‘Ceremony of Opposites’ and ‘Eternal’ with the same
attitude and insight.
 I am sure anyone else as captivated by this driving force could easily
relate to my disgustingly sappy babble, seeing as how this music will have
such an effect on you. Samael will most definitely continue to grow,
reappearing in every shape and form that best suits them. -Ava

Type O Negative
House of Blues
Anaheim, CA

Photos by: The Pusher and Ken9

 Leave it to Type O fans to begin chanting “You suck!” before the encore.
You can’t get away with that too often, but when seeing Type O Negative, it
is almost a tradition. Pete Steele responded with a smirk and “Yeah, we
know we suck. But you paid $25 to get in and we were on the guest list, so
fuck you!”
 In truth, $25 was nothing for such a grand display of tongue-in-cheek
humor and amazing songs presented by an amazing band. I have resorted to
stealing my make-up and still would’ve paid double the price to be a part
of this. Type O is not a band you can catch five times a year. When they
come within a 500-mile radius, you’d best be on your way.
 While the venue was by far the most obnoxious contraption slapped together
since the SUV, the sound was crystal clear and backed up by a blinding
light show. Everyone’s relationship-gone-bad anthem, ‘Unsuccessfully
Coping….’, opened the set, straight and to the point. Serving as the
antidotes, ‘Wolf Moon’ and ‘Anesthesia’ (which had just been added to the
set list, to many fans’ delight) came next. There are days when you really
need someone to just flat-out say something for you, and for that, there is
Type O. Most Type O songs will throw AT LEAST one memorable line at you,
whether it is something very simple or one that will put a look of
confusion on your face until it finally sinks in.

Utterances such as “I
don’t need love”, “Everyone I love is dead”, and “I know I’m the one who
brought it down/Bring it on down” will, for some reason or another, cling
to you in that they are tangible. Yet again changing the pace at whiplash
speed, the band kicked in to ‘Kill All the White People’, followed shortly
by the quirky ‘My Girlfriend’s Girlfriend’. Although quite a short set, an
entire lifespan of a diverse band was re-visited. Tales of deceit,
animalistic rage and lust (sometimes within the same song), irony and
amusement, tragedy, and utter sadness, all in one night. Bringing the set
to a close was ‘I Don’t Wanna Be Me’ off of ‘Life Is Killing Me’, followed
by the (supposed) definitive Type O song ‘Black No. 1’. This, surprisingly,
sounded new and exciting when played live.
 Now what would a show of theirs be without Pete’s stage banter? “Sorry,
had to go change my colostomy bag.” “This next song is about going down on
a woman who is on her period. I speak from personal experience.” Upon
spotting a rose that had been thrown on the stage, he stooped to pick it up
and proceeded to wipe his ass with it.

Shortly before, he had been
commanding people in the audience to try and throw a hat onto the end of
his bass. “Hey, four-eyes, it’s your turn!”
 I must also point out the fact that when seeing these guys in person, you
realize how human they really are. Most bands cannot pull this off, as they
will completely ruin their mystique and onstage persona. But Type O needs
none of this added drama. They go up there, they play their material, they
bullshit around, and just maybe, you’ll be sane enough to appreciate the
sheer simplicity. The stage dynamic that is presented is fantastic to see,
most notably the obvious attitude of keyboardist Josh Silver. It is apparent when he likes what he is doing, as he will go into frantic
seizures as he bangs away on the equipment. And even more apparent is when
he HATES what he is doing. In past interviews, he has mentioned being
ashamed of ‘My Girlfriend’s Girlfriend’, and believe me when I say it was
quite obvious that night. You can’t help but revel in the humor.
 What else can I possibly say? In keeping with the Type O tradition, I will
leave it simple-A night well-spent. -Ava

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