Overall 2010 was a good year for heavy music. Everyone makes a list, and this list is filled with some hard decisions. Here is the The Cracked Skull's.
1. Agalloch--Marrow of Spirit
2. Ludicra--The Tenant
3. Coffinworm--When All Became None
4. Deathspell Omega--Parcletus
5. Sailors With Wax Wings--Sailors With Wax Wings
6. Unearthly Trance--V
7. The Body--All the Waters of the Earth Turn to Blood
8. Drudkh--Handful of Stars
9. Burzum--Belus
10. Salome--Terminal
11. U.S Christmas--Run Thick in the Night
12. Thou--Summit
13. Horseback--The Invisible Mountain
14. Enslaved – Axioma Ethica Odini
15. Kvelertak--Kvelertak
Friday, December 31, 2010
Monday, December 20, 2010
2010 releases of interest...
Here is a brief list of bands that dropped slabs of cacophonous goodness this year. There is no order to this list other than The Cracked Skull enjoyed them and thinks you might too. There will be some releases that inevitably get left off due to forgetfulness.
Indianapolis bands dropped some real quality on the collective eardrums of us all this year.
*Coffinworm--When All Became None
*Sleepbringer--Compendium
*Apostle of Solitude--Last Sunrise
*Deadmen--Possession of the Void
*Read Shadows--Red Shadows CD
*Kata Sarka--demo
*The Dockers--Tales From The Dock
Other releases:
*Ludicra--The Tenant
*Agalloch--Marrow of Spirit
*Killing Joke--Absolute Dissent
*U.S. Christmas--Run Thick in the Night
*Year of No Light--Ausserwelt
*Horseback--The Invisible Mountain
*Zoroaster--Matador
*Burzum--Belus
*Salome--Terminal
*Locrian--The Crystal World
*The Body--All the Waters of the Earth Turn to Blood
*Thou--Summit
*Enslaved--Axioma Ethica Odini
*Nails--Unsilent Death
*Deathspell Omega--Paracletus
*Swans--My Father Will Guide Me Up a Rope to the Sky
*Celestiial--Where Life Springs Eternal
*Lantlos--Neon
*Triptykon--Eparistera Daimones
*Sailors With Wax Wings--Sailors With Wax Wings
*Drudkh--Handful of Stars
*Unearthly Trance--V
*Dax Riggs--Say Goodnight to the World
*Circle of Animals--Destroy the Light
*Ehnahre--Taming the Cannibals
*Woe--Quietly, Undramatically
*Broughton's Rules--Bounty Hunter 1853
*High on Fire--Snakes for the Divine
*Yakuza--Of Seismic Consequence
*The Austerity Program--Backsliders and Apostates Will Burn
*Alcest--Ecailles De Lune
*Suma--Ashes
*Kvelertek--Kvelertek
*Fell Voices/Ash Borer--split release
*Velnias--limited tour EP
*The Howling Wind--Into the Cryosphere
*White Moth--White Moth
*Negura Bunget--Maiestrit
*Altar of Plagues--Tides
*Kowloon Walled City--Gambling on the Richter Scale
Indianapolis bands dropped some real quality on the collective eardrums of us all this year.
*Coffinworm--When All Became None
*Sleepbringer--Compendium
*Apostle of Solitude--Last Sunrise
*Deadmen--Possession of the Void
*Read Shadows--Red Shadows CD
*Kata Sarka--demo
*The Dockers--Tales From The Dock
Other releases:
*Ludicra--The Tenant
*Agalloch--Marrow of Spirit
*Killing Joke--Absolute Dissent
*U.S. Christmas--Run Thick in the Night
*Year of No Light--Ausserwelt
*Horseback--The Invisible Mountain
*Zoroaster--Matador
*Burzum--Belus
*Salome--Terminal
*Locrian--The Crystal World
*The Body--All the Waters of the Earth Turn to Blood
*Thou--Summit
*Enslaved--Axioma Ethica Odini
*Nails--Unsilent Death
*Deathspell Omega--Paracletus
*Swans--My Father Will Guide Me Up a Rope to the Sky
*Celestiial--Where Life Springs Eternal
*Lantlos--Neon
*Triptykon--Eparistera Daimones
*Sailors With Wax Wings--Sailors With Wax Wings
*Drudkh--Handful of Stars
*Unearthly Trance--V
*Dax Riggs--Say Goodnight to the World
*Circle of Animals--Destroy the Light
*Ehnahre--Taming the Cannibals
*Woe--Quietly, Undramatically
*Broughton's Rules--Bounty Hunter 1853
*High on Fire--Snakes for the Divine
*Yakuza--Of Seismic Consequence
*The Austerity Program--Backsliders and Apostates Will Burn
*Alcest--Ecailles De Lune
*Suma--Ashes
*Kvelertek--Kvelertek
*Fell Voices/Ash Borer--split release
*Velnias--limited tour EP
*The Howling Wind--Into the Cryosphere
*White Moth--White Moth
*Negura Bunget--Maiestrit
*Altar of Plagues--Tides
*Kowloon Walled City--Gambling on the Richter Scale
Thursday, December 16, 2010
Indiana bands that ruled 2010 in some way or another...
Here's a quick list of bands from all over Indiana that The Cracked Skull either enjoyed live, recorded, or both. There are several bands left off this list that The Cracked Skull has heard good things about. Get out and see these bands, and buy stuff from them.
*Coffinworm (Indy)
*Sleepbringer (Indy/Bloomington)
*The Gates of Slumber (Indy)
*Racebannon (Bloomington)
*Medusa (Bloomington)
*World Eater (Indy)
*The Dockers (Indy)
*Daisycutter (Ft. Wanye)
*Kata Sarka (Indy)
*Apostle of Solitude (Indy)
*Slam Dunk (Bloomington)
*Rat Storm (Bloomington)
*Humans (Bloomigton)
*The Dream is Dead (Indy)
*Demiricous (Indy)
*Livermortis (Indy)
*Chaotic Neutral (Indy)
*Hail Architeuthis (Bloomington)
*Christ Beheaded (Indy)
*Tunguska (Indy)
Hopefully The Cracked Skull will catch these bands in 2011.
*Overpower (Indy)
*Still (Indy)
*Na'kay (Ft. Wanye)
*Parasitic Twins (Ft. Wayne)
RIP
*Deadmen
*Red Shadows
*Black Arrows of Filth & Impurity
*Coffinworm (Indy)
*Sleepbringer (Indy/Bloomington)
*The Gates of Slumber (Indy)
*Racebannon (Bloomington)
*Medusa (Bloomington)
*World Eater (Indy)
*The Dockers (Indy)
*Daisycutter (Ft. Wanye)
*Kata Sarka (Indy)
*Apostle of Solitude (Indy)
*Slam Dunk (Bloomington)
*Rat Storm (Bloomington)
*Humans (Bloomigton)
*The Dream is Dead (Indy)
*Demiricous (Indy)
*Livermortis (Indy)
*Chaotic Neutral (Indy)
*Hail Architeuthis (Bloomington)
*Christ Beheaded (Indy)
*Tunguska (Indy)
Hopefully The Cracked Skull will catch these bands in 2011.
*Overpower (Indy)
*Still (Indy)
*Na'kay (Ft. Wanye)
*Parasitic Twins (Ft. Wayne)
RIP
*Deadmen
*Red Shadows
*Black Arrows of Filth & Impurity
Tuesday, November 9, 2010
A little break...
It's been some time between posts, and there have been no upcoming show posts for October and November, nor will there be one for December. That's not to say there are no good shows coming up. You'll just have to be more creative in the ways you find out about them. The Cracked Skull will be taking an indefinite break from attending shows, but with one exception. December 6 at Birdy's in Indianapolis will host Eyehategod, Goatwhore, Phobia, Coffinworm, and Daisy Cutter. Go to this show. This should be the only stop this far north on this tour, and a chance to see three very good touring bands with two of Indiana's finest. The Cracked Skull will be up and running at full force in 2011.
Tuesday, September 28, 2010
Pummelling Transcendence
Riding crests of seething bleakness and filth finds Indianapolis’ merchants of blackened crust, Kata Sarka, plumbing the depths for life consequences and chaotic clarity. Oblivion is impersonal and non-negotiable. There is violence, questionable introspection, and confusion in daily life. Sorting through one’s own chaos is the conceptual backbone that fuses Kata Sarka with wrath and blistering energy.
Manufacturing music fueled by venom and molten shards of shrapnel is a task the men of Kata Sarka take seriously. Vocalist Nate Bracey (Summon the Destroyer), guitarist and vocalist Adam Walker (World Eater, Wasteland D.C., Graves of the Endless Fall), bassist Nick Tully (Denogginizer, Feasting Arena), and drummer Frank Forbes (Lamb’s Breath, Turncoat Serenade) fashion Kata Sarka’s music around misanthropic subject matter leeching into the music from their personal lives. Once rendered, the music is a gnarled amalgamation of conceptual matter given an impersonal voice and anonymity.
The bulk of Kata Sarka’s song writing is handled by Walker and then presented to the rest of the band for arrangement and refinement, with Bracey contributing the majority of the lyrics. As the song writing process continues, Walker outlines future material and its progression. Chaos and confusion are demanding constants in Kata Sarka’s musical quest for purpose and lucid introspection. Their music is a machine gun of chaotic churning that swells with ritualistic feeling and perception meant to convey a shared catharsis. This catharsis can be witnessed in their live set as the band purges all their collective energy into what can be viewed as a ritual seeking transcendence of physical and mental states.
Kata Sarka’s music is pulse racing and bent on inducing self-reflection. Their songs are intended to make the listener ponder the state they are in and what that means within their surrounding environment. Whether the listener is in a state of confusion or self-loathing does not matter as long as a path to clear introspective purpose is sought. As such, Adam Walker delved into the ideas, concepts, energy, inspiration, history, and progression of his band at the behest of The Cracked Skull.
1. How did the members of Kata Sarka get together and when?
Kata Sarka formed in summer of '09. The band was initially discussed between myself and Nate our vocalist. From then on, we recruited Nick, our bassist, who had been in local crust/grind band Denogginizer and had been a personal friend for a few years. We had second guitar duties filled in by Ryan Green of Amongst the Swarm and Summon the Destroyer infamy. Finally, we got in touch with Frank, our drummer, who had been in a short-lived, but nonetheless potent outfit called Lamb’s breath. Ryan had to leave the band soon after forming due to his commitments to Summon the Destroyer.
2. What is the idea(s) or aesthetic(s) behind Kata Sarka's music? Is there a particular meaning behind the band name? Obviously, Kata Sarka's music is not based on happiness. Where does the inspiration for the songs come from?
At this stage in the evolution of the band, the music is a synthesis of ideas that I personally have been accumulating for an outlet for basically 10 plus years. We as a collective have tried to tie these ideas into a unified, progressing concept that the name of the band is used as a signifier. The name Kata Sarka comes from the theological writings of St. Paul. I guess the translation has become confused over history (as is apt to occur) but in essence it means "of the flesh”, "according to the flesh", "by human standards", or "sinful nature". In the confines of theology, I believe it applies to the life and works of Christ prior to his crucifixion and ascension. I enjoy using Christ oriented metaphor, so I reframed the ideas behind this to apply to one's own struggles with being born into a world (or into flesh) without one's choice, and through trial, tribulation, and ultimately introspection and personal mastery "transcending" to realizing one's utmost potential physically, as well as psychically.
Although there may be a positive conclusion to how the ideas of the band unfurl, in a conceptually linear sense the songs we have written and are writing now deal with subjects of insanity, confusion, feelings of self-loathing, misanthropy, and being essentially ethically and morally myopic.
The inspiration for the songs comes from my life and the band's individual lives, but the lyrics are being given an impersonal narrative voice. They are not meant to be viewed as our own personal sob stories projected into the world as a cry for help. That is one of the reasons we are trying to maintain a feeling of anonymity to the band.
3. How are the songs written? Is there an organic writing process or does one person contribute most of the writing?
The bulk of what has been written thus far has come from ideas that I have had for 2 years. In fact, "Lukewarm Depravity" was originally a song that was written and performed briefly when I was in World Eater. I write all the songs as of now, but the band aids in the arrangement process. I generally demo ideas on my 8-track and computer, and then refine them as I present them to the band. The majority of the lyrics thus far have been written by Nate, but I have started to contribute my own lyrics for the newer material. Since we are trying to work within a clear conceptual framework, Nate and I have to work together to make sure our respective ideas fit the songs that are being written. I have outlined what manner the songs should progress up to three E.P.'s worth of material. It helps to guide me in my writing process.
4. The demo, Riding a Wind of Knives, is bleak and pummeling. The pace rarely slows down. Is there a direct intent on being unrelenting and confrontational, or is it more an expression of the dark places of the human psyche and thought via force? The songs will affect the listener. Is there a desired effect from such an approach? I would imagine everything ties back into the aesthetic that Kata Sarka is trying to achieve.
This relates to what I discussed in the previous question. The songs that have been presented so far are of that pace because they correlate to the current subject matter that we are exploring along our conceptual outline. The first 5 songs (3 of which are on the demo) deal with what I consider Existential Oblivion. This is a state that lacks clear introspection and sense of purpose that is given to one's life: i.e. being oblivious to your relationship to your surroundings, and therefore living in a second to second state of chaos and confusion. This has repercussions that manifest in emotional and mental problems which introduce themselves through compulsion and impulsion. When in this state, if one lacks introspection and self-control, they have a tendency to blame others, their ancestry, God, Satan, the universe, etc., or just bad luck for their woes. This idea is dealt with in the first song of the cycle which is not on the demo. It is called "Wearing The Rings of Saturn As A Halo". That being said, the songs are meant to be fast and somewhat chaotic to represent the lyrical content.
5. Your live set is blistering. It seems very cathartic and physical. How important is it to present the music as raw and unabated as possible in a live setting?
I personally have tried to convey this sort of energy in every band I have been in. I believe the rest of the band are on the same page as me because we understand that there is nothing more irritating than seeing violent music played in the most disinterested and passive manner. This kind of music is supposed to get your blood boiling at times, and at others bring you to stop and reflect on what state you and your surroundings are in. We are trying to achieve a ritualistic vibe with the music. The atmosphere we are trying to establish still needs to be refined, I feel, but we are getting there.
6. You have had the opportunity to play with some fairly notable bands of late from Ludicra, Phobia, to Altar of Plagues and some very good local bands. How has it been playing with such bands, what are your feelings on Indy's collective scene overall, any place you like to play over the next spot, and does anyone show stick out to you?
Playing with every one of the above mentioned bands was truly an amazing and humbling experience. For me it meant a great deal because all of those bands are some of my personal favorites. Phobia has been a big inspiration for years, and the newest outings from Ludicra and Altar of Plague are some of the best metal albums to come out in quite some time. We have been lucky to have a scene that affords us the opportunity to play with such bands. We have a high level of admiration for several of the locals we have played with, notably Coffinworm, Ratstorm, Deadmen (RIP), and Picked Clean (RIP).
Indy's scene is like most, in that it has its ebbs and flows of activity. We prefer the all ages, DIY. scene, which was pretty health when we started, but has since went through a bit of upheaval. Now it seems to be back on track with the establishment of the new Dojo on College Ave. The old Dojo was a regular and favorite spot of ours to play, and until September 11th we have yet to play the new spot, but I am sure it will be another fantastic place to play and book shows. We have not had much opportunity to play out of town yet, but of the times we have all of them have been memorable. Our shows at 1624 N. Harrison St. and the Brass Rail in Ft. Wayne were both great shows, and the show we have thus far played in Bloomington with Ratstorm was great. We have some more out of town dates coming up, so stay tuned.
7. There's a strong sense of DIY ethics still present here, and it seems to maintain a reasonably high amount of talented musicians and artists even if it's on a smaller, more insular scale. Where do you see Kata Sarka going in terms of touring and local shows, and maintaining DIY ethics?
We are a fully DIY band, and intend to continue that way. DIY sensibilities have been established in me for years both from a musician's and show booker standpoint. We book our own shows, create our own art and layouts, and print our merch through my brother's small printing company In Case of Emergency (out of Bloomington), and PRN Graphics. We intend on touring based on DIY booking as well.
8. You have a self-released demo out. Are there plans for a full length? If there is, are you still planning on going back to Clandestine Arts to record it? Has there been any interest from inquiring labels?
Yes, we plan on doing some sort of full length in the near future. We are preparing to record our second demo soon, and have discussed working with Carl Byers and Clandestine Arts again. The experience with him was amazing on all levels, from recording and engineering to a personal one because he is a great friend of ours and a highly admired local musician. No interest from any labels as of yet, I would say mostly due to the fact that we have not shopped it to any. All copies of the first run have been either sold at shows or given to friends and acquaintances. We hope to issue another run soon that will go out to labels we're interested in.
Your next chance to catch Kata Sarka is on 9-30-2010, 9 p.m., at The Vollrath with Still, Dark Castle, The Atlas Moth, and Zoroaster ($8).
katasarka.blogspot.com/
Manufacturing music fueled by venom and molten shards of shrapnel is a task the men of Kata Sarka take seriously. Vocalist Nate Bracey (Summon the Destroyer), guitarist and vocalist Adam Walker (World Eater, Wasteland D.C., Graves of the Endless Fall), bassist Nick Tully (Denogginizer, Feasting Arena), and drummer Frank Forbes (Lamb’s Breath, Turncoat Serenade) fashion Kata Sarka’s music around misanthropic subject matter leeching into the music from their personal lives. Once rendered, the music is a gnarled amalgamation of conceptual matter given an impersonal voice and anonymity.
The bulk of Kata Sarka’s song writing is handled by Walker and then presented to the rest of the band for arrangement and refinement, with Bracey contributing the majority of the lyrics. As the song writing process continues, Walker outlines future material and its progression. Chaos and confusion are demanding constants in Kata Sarka’s musical quest for purpose and lucid introspection. Their music is a machine gun of chaotic churning that swells with ritualistic feeling and perception meant to convey a shared catharsis. This catharsis can be witnessed in their live set as the band purges all their collective energy into what can be viewed as a ritual seeking transcendence of physical and mental states.
Kata Sarka’s music is pulse racing and bent on inducing self-reflection. Their songs are intended to make the listener ponder the state they are in and what that means within their surrounding environment. Whether the listener is in a state of confusion or self-loathing does not matter as long as a path to clear introspective purpose is sought. As such, Adam Walker delved into the ideas, concepts, energy, inspiration, history, and progression of his band at the behest of The Cracked Skull.
1. How did the members of Kata Sarka get together and when?
Kata Sarka formed in summer of '09. The band was initially discussed between myself and Nate our vocalist. From then on, we recruited Nick, our bassist, who had been in local crust/grind band Denogginizer and had been a personal friend for a few years. We had second guitar duties filled in by Ryan Green of Amongst the Swarm and Summon the Destroyer infamy. Finally, we got in touch with Frank, our drummer, who had been in a short-lived, but nonetheless potent outfit called Lamb’s breath. Ryan had to leave the band soon after forming due to his commitments to Summon the Destroyer.
2. What is the idea(s) or aesthetic(s) behind Kata Sarka's music? Is there a particular meaning behind the band name? Obviously, Kata Sarka's music is not based on happiness. Where does the inspiration for the songs come from?
At this stage in the evolution of the band, the music is a synthesis of ideas that I personally have been accumulating for an outlet for basically 10 plus years. We as a collective have tried to tie these ideas into a unified, progressing concept that the name of the band is used as a signifier. The name Kata Sarka comes from the theological writings of St. Paul. I guess the translation has become confused over history (as is apt to occur) but in essence it means "of the flesh”, "according to the flesh", "by human standards", or "sinful nature". In the confines of theology, I believe it applies to the life and works of Christ prior to his crucifixion and ascension. I enjoy using Christ oriented metaphor, so I reframed the ideas behind this to apply to one's own struggles with being born into a world (or into flesh) without one's choice, and through trial, tribulation, and ultimately introspection and personal mastery "transcending" to realizing one's utmost potential physically, as well as psychically.
Although there may be a positive conclusion to how the ideas of the band unfurl, in a conceptually linear sense the songs we have written and are writing now deal with subjects of insanity, confusion, feelings of self-loathing, misanthropy, and being essentially ethically and morally myopic.
The inspiration for the songs comes from my life and the band's individual lives, but the lyrics are being given an impersonal narrative voice. They are not meant to be viewed as our own personal sob stories projected into the world as a cry for help. That is one of the reasons we are trying to maintain a feeling of anonymity to the band.
3. How are the songs written? Is there an organic writing process or does one person contribute most of the writing?
The bulk of what has been written thus far has come from ideas that I have had for 2 years. In fact, "Lukewarm Depravity" was originally a song that was written and performed briefly when I was in World Eater. I write all the songs as of now, but the band aids in the arrangement process. I generally demo ideas on my 8-track and computer, and then refine them as I present them to the band. The majority of the lyrics thus far have been written by Nate, but I have started to contribute my own lyrics for the newer material. Since we are trying to work within a clear conceptual framework, Nate and I have to work together to make sure our respective ideas fit the songs that are being written. I have outlined what manner the songs should progress up to three E.P.'s worth of material. It helps to guide me in my writing process.
4. The demo, Riding a Wind of Knives, is bleak and pummeling. The pace rarely slows down. Is there a direct intent on being unrelenting and confrontational, or is it more an expression of the dark places of the human psyche and thought via force? The songs will affect the listener. Is there a desired effect from such an approach? I would imagine everything ties back into the aesthetic that Kata Sarka is trying to achieve.
This relates to what I discussed in the previous question. The songs that have been presented so far are of that pace because they correlate to the current subject matter that we are exploring along our conceptual outline. The first 5 songs (3 of which are on the demo) deal with what I consider Existential Oblivion. This is a state that lacks clear introspection and sense of purpose that is given to one's life: i.e. being oblivious to your relationship to your surroundings, and therefore living in a second to second state of chaos and confusion. This has repercussions that manifest in emotional and mental problems which introduce themselves through compulsion and impulsion. When in this state, if one lacks introspection and self-control, they have a tendency to blame others, their ancestry, God, Satan, the universe, etc., or just bad luck for their woes. This idea is dealt with in the first song of the cycle which is not on the demo. It is called "Wearing The Rings of Saturn As A Halo". That being said, the songs are meant to be fast and somewhat chaotic to represent the lyrical content.
5. Your live set is blistering. It seems very cathartic and physical. How important is it to present the music as raw and unabated as possible in a live setting?
I personally have tried to convey this sort of energy in every band I have been in. I believe the rest of the band are on the same page as me because we understand that there is nothing more irritating than seeing violent music played in the most disinterested and passive manner. This kind of music is supposed to get your blood boiling at times, and at others bring you to stop and reflect on what state you and your surroundings are in. We are trying to achieve a ritualistic vibe with the music. The atmosphere we are trying to establish still needs to be refined, I feel, but we are getting there.
6. You have had the opportunity to play with some fairly notable bands of late from Ludicra, Phobia, to Altar of Plagues and some very good local bands. How has it been playing with such bands, what are your feelings on Indy's collective scene overall, any place you like to play over the next spot, and does anyone show stick out to you?
Playing with every one of the above mentioned bands was truly an amazing and humbling experience. For me it meant a great deal because all of those bands are some of my personal favorites. Phobia has been a big inspiration for years, and the newest outings from Ludicra and Altar of Plague are some of the best metal albums to come out in quite some time. We have been lucky to have a scene that affords us the opportunity to play with such bands. We have a high level of admiration for several of the locals we have played with, notably Coffinworm, Ratstorm, Deadmen (RIP), and Picked Clean (RIP).
Indy's scene is like most, in that it has its ebbs and flows of activity. We prefer the all ages, DIY. scene, which was pretty health when we started, but has since went through a bit of upheaval. Now it seems to be back on track with the establishment of the new Dojo on College Ave. The old Dojo was a regular and favorite spot of ours to play, and until September 11th we have yet to play the new spot, but I am sure it will be another fantastic place to play and book shows. We have not had much opportunity to play out of town yet, but of the times we have all of them have been memorable. Our shows at 1624 N. Harrison St. and the Brass Rail in Ft. Wayne were both great shows, and the show we have thus far played in Bloomington with Ratstorm was great. We have some more out of town dates coming up, so stay tuned.
7. There's a strong sense of DIY ethics still present here, and it seems to maintain a reasonably high amount of talented musicians and artists even if it's on a smaller, more insular scale. Where do you see Kata Sarka going in terms of touring and local shows, and maintaining DIY ethics?
We are a fully DIY band, and intend to continue that way. DIY sensibilities have been established in me for years both from a musician's and show booker standpoint. We book our own shows, create our own art and layouts, and print our merch through my brother's small printing company In Case of Emergency (out of Bloomington), and PRN Graphics. We intend on touring based on DIY booking as well.
8. You have a self-released demo out. Are there plans for a full length? If there is, are you still planning on going back to Clandestine Arts to record it? Has there been any interest from inquiring labels?
Yes, we plan on doing some sort of full length in the near future. We are preparing to record our second demo soon, and have discussed working with Carl Byers and Clandestine Arts again. The experience with him was amazing on all levels, from recording and engineering to a personal one because he is a great friend of ours and a highly admired local musician. No interest from any labels as of yet, I would say mostly due to the fact that we have not shopped it to any. All copies of the first run have been either sold at shows or given to friends and acquaintances. We hope to issue another run soon that will go out to labels we're interested in.
Your next chance to catch Kata Sarka is on 9-30-2010, 9 p.m., at The Vollrath with Still, Dark Castle, The Atlas Moth, and Zoroaster ($8).
katasarka.blogspot.com/
Tuesday, August 31, 2010
september shows of interest...
*9-3-2010, the melody inn, about the fire--last show (indy), sex before marriage, off balance, and maravich, 10 p.m., $7.
*9-3-2010, the dojo, zann (germany), black kites, overpower (indy), and morrow (bloomington), 7 p.m., $7.
*9-4-2010, the bishop (123 south walnut street, bloomington in), racebannon (bloomington), good luck, and tba, 8 p.m., free 21+.
*9-9-2010, the vollrath, young widows (louisville), still (indy), and full rainbow, 9 p.m., $7.
*9-11-2010, the dojo, the dream is dead (indy), kata sarka (indy), world eater (indy), deceiver, rat storm (bloomington), and wormrot, 6 p.m., $7.
*9-12-2010, rachel's cafe (300 e. 3rd street, bloomington, in), kata sarka (indy), rat storm (bloomington), landbridge (bloomington), and humans (bloomington), 7 p.m, free but band donations excepted.
*9-16-2010, rock lobster (820 broad ripple ave), howl, valient thor, junis, and bulletwolf (indy), 9 p.m., $10 advance or $12 day of.
*9-19-2010, the dojo, nails, another mistake, and crippled minds (indy), 7 p.m., $8.
*9-27-2010, the dojo, american cheeseburger, misled youth, and clean slate, 7 p.m., $6.
*9-30-2010, the vollrath (118 e. palmer street) kata sarka (indy), still (indy), zoroaster (ga), the atlas moth (chicago), and dark castle (florida), 9 p.m., $8.
*9-3-2010, the dojo, zann (germany), black kites, overpower (indy), and morrow (bloomington), 7 p.m., $7.
*9-4-2010, the bishop (123 south walnut street, bloomington in), racebannon (bloomington), good luck, and tba, 8 p.m., free 21+.
*9-9-2010, the vollrath, young widows (louisville), still (indy), and full rainbow, 9 p.m., $7.
*9-11-2010, the dojo, the dream is dead (indy), kata sarka (indy), world eater (indy), deceiver, rat storm (bloomington), and wormrot, 6 p.m., $7.
*9-12-2010, rachel's cafe (300 e. 3rd street, bloomington, in), kata sarka (indy), rat storm (bloomington), landbridge (bloomington), and humans (bloomington), 7 p.m, free but band donations excepted.
*9-16-2010, rock lobster (820 broad ripple ave), howl, valient thor, junis, and bulletwolf (indy), 9 p.m., $10 advance or $12 day of.
*9-19-2010, the dojo, nails, another mistake, and crippled minds (indy), 7 p.m., $8.
*9-27-2010, the dojo, american cheeseburger, misled youth, and clean slate, 7 p.m., $6.
*9-30-2010, the vollrath (118 e. palmer street) kata sarka (indy), still (indy), zoroaster (ga), the atlas moth (chicago), and dark castle (florida), 9 p.m., $8.
Monday, August 2, 2010
august shows of interest...
*8-3-2010, clubhaus z (4810 e. new york street), religious police, indianapolis forever, and will power, 6:30 p.m., $1 or more donation for the new dojo.
*8-6-2010, the basement (1132 n.tibbs avenue), coffinworm (indy), kata sarka (indy), tunguska (indy), velnias (colorado), and altar of plagues (ireland), 7 p.m., $8.
*8-7-2010, the melody inn, apostle of solitude (indy), cocaine wolves, and mach II (ohio), 7:30 p.m., $6.
*8-7-2010, the melody inn, down-fi (indy), the distractions, and flamingo nosebleed, 10:30 p.m., $5.
*8-8-2010, the melody inn, slam dunk (bloomington), humans (bloomington), and beyond agony, 8 p.m., $5.
*8-14-2010, the basement, summone the destroyer (indy), cannabis corpse (va), mobile deathcamp (ohio), 7 p.m.
*8-15-2010, the dojo (2207 n. college avenue) , chaotic neutral (indy), rat storm (bloomington), misled youth, and weak link (canada), 7 p.m., $6.
*8-18-2010, the casa del kotex, world eater (indy), sea of shit (il), vile intent (canada), and overpower, 7 p.m., $5.
*8-20-2010, the dojo (2207 n. college avenue), coffinworm (indy), tombs (nyc), and planks (germany), 7 p.m., $8.
*8-21-2010, es jungle (6151 central avenue), about the fire (indy), deceiver, it's all happening, 7 p.m., $7.
*8-6-2010, the basement (1132 n.tibbs avenue), coffinworm (indy), kata sarka (indy), tunguska (indy), velnias (colorado), and altar of plagues (ireland), 7 p.m., $8.
*8-7-2010, the melody inn, apostle of solitude (indy), cocaine wolves, and mach II (ohio), 7:30 p.m., $6.
*8-7-2010, the melody inn, down-fi (indy), the distractions, and flamingo nosebleed, 10:30 p.m., $5.
*8-8-2010, the melody inn, slam dunk (bloomington), humans (bloomington), and beyond agony, 8 p.m., $5.
*8-14-2010, the basement, summone the destroyer (indy), cannabis corpse (va), mobile deathcamp (ohio), 7 p.m.
*8-15-2010, the dojo (2207 n. college avenue) , chaotic neutral (indy), rat storm (bloomington), misled youth, and weak link (canada), 7 p.m., $6.
*8-18-2010, the casa del kotex, world eater (indy), sea of shit (il), vile intent (canada), and overpower, 7 p.m., $5.
*8-20-2010, the dojo (2207 n. college avenue), coffinworm (indy), tombs (nyc), and planks (germany), 7 p.m., $8.
*8-21-2010, es jungle (6151 central avenue), about the fire (indy), deceiver, it's all happening, 7 p.m., $7.
Friday, July 30, 2010
a new spot...
It would seem that The Dojo is saved. It will be relocated to 2207 N. College Avenue Indianapolis, IN. This is a very good thing for Indy's DIY scene. It is good to see people take initiative and keep an affordable, all ages, community based space open and viable. Spaces like this are often not permanent fixtures within a given community, but an ongoing outlet for an idea or belief in DIY ethics. Hopefully, this new location will not have similar problems that plagued the original Dojo. For a space like this to succeed there needs to be a collective effort of support. Whether that comes from donations of money or time, or just supporting shows, this new incarnation of The Dojo is yet to be up and running. There is a benefit show on 8-3-2010 with all the proceeds going towards the new space. This show features Religious Police, Indianapolis Forever, and Will Power at Clubhaus Z (4810 E New York Street) at 6:30 with a minimum dollar at the door donation. When new information becomes available on the new space, then you'll see it here. Let's hope this space has a healthy and productive lifespan.
New Dojo contact info:
www.diydojo.com
dojoindiana@gmail.com
New Dojo contact info:
www.diydojo.com
dojoindiana@gmail.com
Sunday, July 25, 2010
show review: Deadmen 7" release show--7-25-2010
To begin it must be known that mother nature's dirty rag has been draped over the entire state of Indiana in terms of sweltering heat and almost impenetrable humidity this summer. But this did not stop the faithful from coming out to support and bask in the raucous uptempo thrashing that the Cocaine Wolves, Chaotic Neutral, Sweet Cobra, and Deadmen provided the Melody Inn's patrons on an easy going Sunday night. This was a grown folk affair between bands and followers. It was a cathartic occasion to celebrate the Deadmen's 7 inch release, Possession Of the Void, as well as to see them off as band for their second to last show as a band. The Man can wait one more day. This was a time to raise beer cans high, work up a sweat, enjoy some drunken antics, pump fists, and revel in the energy being transmitted from bands to audience back to the bands. A break in the heat and humidity saw a positive atmosphere grow from the pre-show cookout and metal dj sets until the Cocaine Wolves took the stage. The Cocaine Wolves played a lively set of hard rock, Thin Lizzy style, easily warming up the crowd. Next up was Chaotic Neutral. A newer band from Indy, Chaotic Neutral did not disappoint with their brand of hardcore bluster. Their on stage energy was dynamic as the musicians pulsed and churned with each ringing note and percussive hit. The music relented only at the end of each song. By the end of their set, Chaotic Neutral had worked themselves into a frenzy of sweat and swagger, and primed the audience for one of Indy's favorites: Chicago's Sweet Cobra. As always, Sweet Cobra stepped up and did what they do best. They laid down a raw blend of hardcore and metal with the intent to stack riff upon riff as they tried to peel the audience's collective face off. Playing without their recently deceased and missed guitarist, Matt Arluck, Sweet Cobra ran through a set of new material and few older favorites. The crowd was more than happy to pay homage to the band as only they could by singing along, ebbing and flowing with the music, and finally demanding more songs from the band as they finished their set. Happy to oblige, Sweet Cobra played a one song encore to cheers and drumming applause. Finally, the Deadmen took the stage with the audience ready to explode, and made a fast start by ripping into a set filled with their complete catalog of songs. With the Grave Opener in hand (a customized pick ax with web detailing and bottle opener at one end), vocalist, Nate Olp preceded to shred his vocal chords and hurl himself into the crowd as his band mates focused all their efforts into pummeling the audience with their brand of hardcore infused metal. Their set was a towering riff fest of raging pleasure only outdone by each subsequent song. With the band thoroughly feeling all the energy in the room, the crowd writhed and begged for more. At the end of their set and convinced by the audience, the Deadmen ushered in an encore of the entire 7" release in the order that the songs appear on the vinyl. This was an encore of songs that neither band nor audience had not grown tired of. The Deadmen could have played their set over in its entirety without one complaint as onlookers groaned for more music. At the completion of the four song encore the crowd was spent and pleased. After all, this was a night for grown folks to indulge and see a band off as only a hyper-charged group of mutual friends and fans alike can. The Deadmen will be missed. The Melody Inn was left standing, but all in attendance witnessed the Deadmen at the top of their game capping the night's festivities in a rowdy and rompingly intense way.
Tuesday, July 13, 2010
something unfortunate...
It would seem that the still fairly new DIY all ages space, The Dojo, is doomed. Disgruntled, insidious, and flat out bitchy neighbors have likely pressured and complained enough to the owners of the space to shut it down. This means if, as of now, that all shows booked there will need to be moved, or run the risk of being canceled. If anyone out there can help with moving or rescheduling shows, then that would be a great asset to save some all ages shows in Indy. Also, this may be a good time for a younger generation of DIY musicians and artists to step up and open another space to keep an all ages DIY space open in Indianapolis. With so many spaces dying off in 2010, The Cracked Skull truly hopes the situation at The Dojo can be resolved or the shows find slots at other venues. Ultimately, if The Dojo goes, then it would be a great thing for this city to see another all ages DIY space open and continue in the tradition of The Dojo. When news about The Dojo's future is known then it will be posted.
The Dojo is officially dead. RIP.
www.myspace.com/diydojo
http://www.facebook.com/home.php#!/diydojo?ref=ts
The Dojo is officially dead. RIP.
www.myspace.com/diydojo
http://www.facebook.com/home.php#!/diydojo?ref=ts
Thursday, July 1, 2010
july shows of interest...
*7-3-2010, the tip top tavern (1341 n. captial ave), sleepbringer (indy/bloomington), the gates of slumber (indy), and place of skulls, 9 p.m., $10.
*7-4-2010, the dojo--collective benefit show, world eater (indy), livermortis (indy), rat storm (bloomington), and chaotic neutral, 4 p.m.--food, 6 p.m.--bands, $5.
*7-7-2010, the dojo, kata sarka (indy), just die, and religious police, 7 p.m., $5.
*7-9-2010, the melody inn, stand and deliver (indy), maravich (indy), no enemy (chicago), 9 p.m., $5.
*7-9-2010 and 7-10-2010, dudefest, http://festdude.com.
*7-14-2010, the casa, medusa (bloomington), the dockers (indy), bezoar (ny), and wizardy (ny), 8 p.m., $5.
*7-14-2010, the melody inn, christ beheaded (indy), maxx (muncie), hod (tx), gravehill (ca), and cardiac arrest (il), 7 p.m., $8.
*7-23-2010, the hoosier dome (1627 Prospect, indianapolis, in 46203), black arrows of filth & impurity (indy), kata sarka (indy), rat storm (bloomington), graves of valor (sc), and phobia (ca), 7 p.m., $10.
*7-25-2010, the melody inn, deadmen (indy--7" release show/cookout), sweet cobra (chicago), the cocaine wolves (muncie), and chaotic neutral, 5:30 p.m., $5.
*7-30-2010, the melody inn, apostle of solitude (indy), earthride (maryland), bible of the devil, and valkyrie, 9 p.m.
*7-30-2010, the vollrath, red shadows (indy), beings, and torche, 9 p.m., $10.
*7-31-2010, the casa, deadmen (indy--last show), the dockers (indy), and slam dunk (bloomington), 7 p.m., $3.
*7-4-2010, the dojo--collective benefit show, world eater (indy), livermortis (indy), rat storm (bloomington), and chaotic neutral, 4 p.m.--food, 6 p.m.--bands, $5.
*7-7-2010, the dojo, kata sarka (indy), just die, and religious police, 7 p.m., $5.
*7-9-2010, the melody inn, stand and deliver (indy), maravich (indy), no enemy (chicago), 9 p.m., $5.
*7-9-2010 and 7-10-2010, dudefest, http://festdude.com.
*7-14-2010, the casa, medusa (bloomington), the dockers (indy), bezoar (ny), and wizardy (ny), 8 p.m., $5.
*7-14-2010, the melody inn, christ beheaded (indy), maxx (muncie), hod (tx), gravehill (ca), and cardiac arrest (il), 7 p.m., $8.
*7-23-2010, the hoosier dome (1627 Prospect, indianapolis, in 46203), black arrows of filth & impurity (indy), kata sarka (indy), rat storm (bloomington), graves of valor (sc), and phobia (ca), 7 p.m., $10.
*7-25-2010, the melody inn, deadmen (indy--7" release show/cookout), sweet cobra (chicago), the cocaine wolves (muncie), and chaotic neutral, 5:30 p.m., $5.
*7-30-2010, the melody inn, apostle of solitude (indy), earthride (maryland), bible of the devil, and valkyrie, 9 p.m.
*7-30-2010, the vollrath, red shadows (indy), beings, and torche, 9 p.m., $10.
*7-31-2010, the casa, deadmen (indy--last show), the dockers (indy), and slam dunk (bloomington), 7 p.m., $3.
Monday, June 28, 2010
a snapshot: sleepbringer --compendium
Sleepbringer's name tends to evoke images of a slow, down-tuned head crush. With Compendium, Sleepbringer brings forth their latest release of eerily earth shaking doom. A charged swelling of misanthropy is the backbone for Sleepbringer's distrust and gloomy tumult. Willing to take their time, Sleepbringer purge lost souls with gravel throat vocals, the clamor of war drums, abyssal bass bombardment, and the demolition of dual guitar passages bent on nuclear winter. This is a lament in pursuit of descending desolation. At times bluesy, cold, and forlorn, Compendium is a haunting and stark collection of grimy dirges. At just over an hour, Compendium is a continual transition from one song to the next that relies on patience and a lingering sense of ruin. Sleepbringer build layers of riffs, tempo changes, and solos only to drop you to the depths of humanly woe. At the end of it all, you will know their morose tale of suffering and ultimate redemption: everything you know is a lie.
You can download Compendium at this link.
http://sleepbringer.bandcamp.com/
www.myspace.com/sleepbringer
You can download Compendium at this link.
http://sleepbringer.bandcamp.com/
www.myspace.com/sleepbringer
Friday, June 4, 2010
Raining black arrows of extinction...
There is a rumor, a grimy rustling that stirs only a few times a year down the crumbling streets of Indianapolis. It is the building rumble of a band that simply cares not for the collective existence of humanity in its current condition. They are a band that only springs forth a few times yearly to anoint their followers with nihilistic live rituals. This band is Black Arrows of Filth and Impurity.
Their name alone sets the tone for the band, conjuring immediate images of all things negative doused with depravity. The members of the band, vocalist Dave Britts (Coffinworm, World Eater), drummer Dustin Boltjes (Demiricous, The Dream is Dead, Transgression), bassist Todd Manning (Coffinworm), and guitarist Tony McGuire (Coffinworm) assault anyone listening with their blend of experimental grind and death metal rooted firmly in hardcore punk.
Black Arrows of Filth and Impurity’s sound is potent, defiant, and filled with sonic dissonance. It is a visceral challenge to the listeners. It is music spawned from the musicians trying to challenge each other within the band. It is the unexpected that keeps the Black Arrows' annihilation machine rolling forward. If they clear a room along the way, then the listeners failed the challenge.
Coming together as equals, the member of Black Arrows of Filth and Impurity take their time when writing new material. In March 2009 their debut album (1984 (Eternal)), was rereleased on CD by Gilead Media. The Cracked Skull spoke to Tony McGuire about the inner workings of the band, their writing process, and the band’s future.
How long have Black Arrows been around, and how did you all get together? Was (is) there a central idea or aesthetic you’re trying to achieve? If there is a particular aesthetic then how close do you feel that you’re getting to it?
We’ve been playing together since sometime in 2003. I had known Dustin from going to shows, and then I answered an ad that he and Todd placed online looking for a guitarist. We got together in late 2003, and the rest is a sweet romantic poem that we have all lovingly crafted since. I don’t know if there is a specific aesthetic other than pushing things as far as we can musically while all keeping our sanity, which rarely happens while we are writing. As far as the lyrics go, Dave is pretty straight forward, so they are all self-explanatory. I guess, overall, we agree that the current state of humanity is one that needs to be extinguished, but that tends to be the norm with most grind bands past or present. The stuff we are working on now is going to be more concept-oriented, and I feel like we have been paying more attention to cohesion while writing the music. We do take our time while writing. I feel our new releases are actually going to delve deeper into the human experience, specifically the future of human experience. But then again that could all change.
There seems to be a political slant to the music. How much does local, national, and international politics influence the music?
I think we, as most bands of the hardcore/punk/grind variety, are products of our environment. I know it sounds cliché as fuck, but the things that we have all witnessed growing up in an environment like the Midwest come out in our music and especially Dave’s lyrics. We didn’t exactly grow up being fostered for our differences and unique outlooks on life, and modern day politics seems to try to keep these same ideas and status quo in place. We will hopefully be there to jab a rusty fork in its eye.
Is there a sense within the band that Black Arrows is always pushing for the most extreme reaches with the band’s music? The music is a continual onslaught. Any plans on slowing down or speeding up?
Honestly, we all just want to piss each other off when we are writing. We are always trying to do the unexpected. Anything to challenge ourselves while playing. Challenging the listener is definitely a plus. I’ve always kind of wanted to play in a band that clears the entire room out while we are playing. Maybe we need to get a show at the VFW? As far as speeding up or slowing down, that will just be decided as needed. Ideally, our fast shit will get faster and our slow shit with get slower.
Who are the main song writers within the band? Or do the songs come together as a collective group effort?
We come together pretty equally on all fronts. We’ve always said that if one of us quits the band then it’s over. I can’t imagine trying to write any of these songs with any other people than these three dudes. We all understand how each other thinks now when it comes to writing. It’s almost kind of scary. Todd, Dustin, and I write all the music together, and then Dave comes in and usually has ideas for structure and the overall feeling of the song. Then the lyrics are all Dave.
The record has been out for some time now, and released on CD by Gilead Media, but is there anything coming up recording and release wise?
If we can ever find the time to make it in the studio between all the other shit that we do, then we have more than enough unrecorded material to put out a pretty massive release or a couple of different things. The dates tend to keep getting pushed back, but hopefully we can make it in the studio this year.
In terms of Indy’s music scene, what are some of the bands you feel you have a kinship with or have similar views?
The Dream is Dead and World Eater, not just because we share members, but I feel like we are all sonically and lyrically raw as fuck. Plus, we tend to view society and politics in the same light. That’s not to say that there aren’t other bands around that we share these views with. There are so many awesome bands here that it’s silly. I could sit here for a good ten minutes listing bands that we feel a kinship with.
Black Arrows is a band that rarely plays out. Is there a specific reason for this or is it due more to conflicting schedules?
It’s more just because we all have too much other shit going on. Unfortunately, life tends to happen in the meantime. I wish I could devote everything to bands, as do all of us, but it doesn’t pay the bills. Plus, it seems that when a local band plays out all the time people tend to lose interest. This works in our favor because when we do have a chance to get out and play people will make an effort to come out since it doesn’t happen too often.
**Your next chance to see Black Arrows of Filth and Impurity comes at 2010’s Dudefest July 9 and 10.
www.myspace.come/blackarrowsoffilthimpurity
http://www.gileadmedia.net/
http://www.festdude.com/
Their name alone sets the tone for the band, conjuring immediate images of all things negative doused with depravity. The members of the band, vocalist Dave Britts (Coffinworm, World Eater), drummer Dustin Boltjes (Demiricous, The Dream is Dead, Transgression), bassist Todd Manning (Coffinworm), and guitarist Tony McGuire (Coffinworm) assault anyone listening with their blend of experimental grind and death metal rooted firmly in hardcore punk.
Black Arrows of Filth and Impurity’s sound is potent, defiant, and filled with sonic dissonance. It is a visceral challenge to the listeners. It is music spawned from the musicians trying to challenge each other within the band. It is the unexpected that keeps the Black Arrows' annihilation machine rolling forward. If they clear a room along the way, then the listeners failed the challenge.
Coming together as equals, the member of Black Arrows of Filth and Impurity take their time when writing new material. In March 2009 their debut album (1984 (Eternal)), was rereleased on CD by Gilead Media. The Cracked Skull spoke to Tony McGuire about the inner workings of the band, their writing process, and the band’s future.
How long have Black Arrows been around, and how did you all get together? Was (is) there a central idea or aesthetic you’re trying to achieve? If there is a particular aesthetic then how close do you feel that you’re getting to it?
We’ve been playing together since sometime in 2003. I had known Dustin from going to shows, and then I answered an ad that he and Todd placed online looking for a guitarist. We got together in late 2003, and the rest is a sweet romantic poem that we have all lovingly crafted since. I don’t know if there is a specific aesthetic other than pushing things as far as we can musically while all keeping our sanity, which rarely happens while we are writing. As far as the lyrics go, Dave is pretty straight forward, so they are all self-explanatory. I guess, overall, we agree that the current state of humanity is one that needs to be extinguished, but that tends to be the norm with most grind bands past or present. The stuff we are working on now is going to be more concept-oriented, and I feel like we have been paying more attention to cohesion while writing the music. We do take our time while writing. I feel our new releases are actually going to delve deeper into the human experience, specifically the future of human experience. But then again that could all change.
There seems to be a political slant to the music. How much does local, national, and international politics influence the music?
I think we, as most bands of the hardcore/punk/grind variety, are products of our environment. I know it sounds cliché as fuck, but the things that we have all witnessed growing up in an environment like the Midwest come out in our music and especially Dave’s lyrics. We didn’t exactly grow up being fostered for our differences and unique outlooks on life, and modern day politics seems to try to keep these same ideas and status quo in place. We will hopefully be there to jab a rusty fork in its eye.
Is there a sense within the band that Black Arrows is always pushing for the most extreme reaches with the band’s music? The music is a continual onslaught. Any plans on slowing down or speeding up?
Honestly, we all just want to piss each other off when we are writing. We are always trying to do the unexpected. Anything to challenge ourselves while playing. Challenging the listener is definitely a plus. I’ve always kind of wanted to play in a band that clears the entire room out while we are playing. Maybe we need to get a show at the VFW? As far as speeding up or slowing down, that will just be decided as needed. Ideally, our fast shit will get faster and our slow shit with get slower.
Who are the main song writers within the band? Or do the songs come together as a collective group effort?
We come together pretty equally on all fronts. We’ve always said that if one of us quits the band then it’s over. I can’t imagine trying to write any of these songs with any other people than these three dudes. We all understand how each other thinks now when it comes to writing. It’s almost kind of scary. Todd, Dustin, and I write all the music together, and then Dave comes in and usually has ideas for structure and the overall feeling of the song. Then the lyrics are all Dave.
The record has been out for some time now, and released on CD by Gilead Media, but is there anything coming up recording and release wise?
If we can ever find the time to make it in the studio between all the other shit that we do, then we have more than enough unrecorded material to put out a pretty massive release or a couple of different things. The dates tend to keep getting pushed back, but hopefully we can make it in the studio this year.
In terms of Indy’s music scene, what are some of the bands you feel you have a kinship with or have similar views?
The Dream is Dead and World Eater, not just because we share members, but I feel like we are all sonically and lyrically raw as fuck. Plus, we tend to view society and politics in the same light. That’s not to say that there aren’t other bands around that we share these views with. There are so many awesome bands here that it’s silly. I could sit here for a good ten minutes listing bands that we feel a kinship with.
Black Arrows is a band that rarely plays out. Is there a specific reason for this or is it due more to conflicting schedules?
It’s more just because we all have too much other shit going on. Unfortunately, life tends to happen in the meantime. I wish I could devote everything to bands, as do all of us, but it doesn’t pay the bills. Plus, it seems that when a local band plays out all the time people tend to lose interest. This works in our favor because when we do have a chance to get out and play people will make an effort to come out since it doesn’t happen too often.
**Your next chance to see Black Arrows of Filth and Impurity comes at 2010’s Dudefest July 9 and 10.
www.myspace.come/blackarrowsoffilthimpurity
http://www.gileadmedia.net/
http://www.festdude.com/
Tuesday, June 1, 2010
june shows of interest...
*6-4-2010, the dojo, black breath, give, stick together, lion of judah, and thought crusade, 7 p.m., $10.
*6-5-2010, upland radfest (bloomington, upland brewery), coffinworm (indy), deadmen (indy), humans (bloomington), bible of the devil, webcam teenz, and kiss army, 5 p.m., $25 in advance $30 at the door.
*6-6-2010, bear's place (1316 e. 3rd street, bloomington, in), junker (indy), rat storm (indy/bloomington), and lockstep, 8 p.m., $5.
*6-11-2010, the melody inn, sleepbringer (indy/bloomington), devils of belgrade (indy), devil to pay (indy), and lo pan, 9 p.m., $5.
*6-13-2010, the vollrath (118 e. palmer street, indianapolis), junker (indy), off with their heads, and dear landlord, 9 p.m. $7.
*6-16-2010, the dojo, chaotic neutral (indy), coerced (boston), and veloz, 7 p.m., $5.
*6-23-2010, the dojo, floor, and slam dunk, 7 p.m.
*6-25-2010, the melody inn, racebannon (bloomington) wrap the body release show with jill from we are hex, red shadows, and small arms fire, 9 p.m., $5
*6-5-2010, upland radfest (bloomington, upland brewery), coffinworm (indy), deadmen (indy), humans (bloomington), bible of the devil, webcam teenz, and kiss army, 5 p.m., $25 in advance $30 at the door.
*6-6-2010, bear's place (1316 e. 3rd street, bloomington, in), junker (indy), rat storm (indy/bloomington), and lockstep, 8 p.m., $5.
*6-11-2010, the melody inn, sleepbringer (indy/bloomington), devils of belgrade (indy), devil to pay (indy), and lo pan, 9 p.m., $5.
*6-13-2010, the vollrath (118 e. palmer street, indianapolis), junker (indy), off with their heads, and dear landlord, 9 p.m. $7.
*6-16-2010, the dojo, chaotic neutral (indy), coerced (boston), and veloz, 7 p.m., $5.
*6-23-2010, the dojo, floor, and slam dunk, 7 p.m.
*6-25-2010, the melody inn, racebannon (bloomington) wrap the body release show with jill from we are hex, red shadows, and small arms fire, 9 p.m., $5
Friday, May 21, 2010
mix tapes...
maybe the cracked skull is a bit nostalgic, but what happened to the art of the mix tape? a good mix tape could get you by in a rough spot. a good mix tape made you listen to the songs in the order of the person that gave the tape to you. one side straight through then flip it and a person could convey whatever they were feeling or trying to get across via song and band selection/order. a good mix tape had a life expectancy, but when it died you remembered it. a good mix tape came with hand written fold outs with song listings and maybe even a drawing or sketch. a good mix tape would often make you think. and sometimes those thoughts were not pleasant. often a good mix tape had a theme, and that theme could range from the changing of the seasons to drunken thrash ragers. lately the kvlt among us are turning out small batches of enigmatic music back on cassettes, and independent labels are releasing records once again via cassette in limited quantities. so here's the deal: let the mix tape resurgence shine. dust off those tape player, scour the streets for blank cassettes, and start making mix tapes.
the cracked skull mix tape exchange is now official. if you're interested then leave a comment with your email or send an email to the cracked skull's email (thecrackedskull@gmail.com). once a healthy list of people are gathered then we'll pair off, and make a one off themed mix tape to exchange with whomever you're paired with. you'll have a month to complete the tape and get it to the other person. the theme will change monthly as well as the person you make it for. the first tape is for june. there is about a week in may left, so if you're interested then let the cracked skull know soon. here's the first theme: atlas holding the crushing weight of the world on his shoulders. so start thinking about that tape...
the cracked skull mix tape exchange is now official. if you're interested then leave a comment with your email or send an email to the cracked skull's email (thecrackedskull@gmail.com). once a healthy list of people are gathered then we'll pair off, and make a one off themed mix tape to exchange with whomever you're paired with. you'll have a month to complete the tape and get it to the other person. the theme will change monthly as well as the person you make it for. the first tape is for june. there is about a week in may left, so if you're interested then let the cracked skull know soon. here's the first theme: atlas holding the crushing weight of the world on his shoulders. so start thinking about that tape...
Monday, April 26, 2010
upcoming shows in may of interest...
*5-1-2010, the dojo (4640 E. 10th St., indpls), coffinworm (indy), velnias (colorado), batillus (nyc), and kata sarka (indy), 6:30 p.m., $6.
*5-4-2010, the dojo, black breath, sleeping in gethsemane, deceiver, and sick world, 7 p.m., $8.
*5-6-2010, the tip top tavern (1341 n. capitol ave., indpls), demiricous (indy), heavy lies the crown (indy), cattle decapitation (ca), and revocation, 8 p.m., $10.
*5-8-2010, the dojo, demiricous (indy), no regard (indy), deceiver, vital error, and picked clean, 7 p.m., $6.
*5-16-2010, the melody inn (3826 n. illinois st., indpls), apostle of solitude (indy), necropharmacon (indy), black pyramid (ma), and let the night roar (ga), 7 p.m., $6.
*5-26-2010, the melody inn, red shadows (indy), rat storm, capitalist casualties, verbal abuse, and fang, 7 p.m., $12.
*5-27-2010, locals only, demiricous, red shadows, and plaguesayer, 9 p.m., free 21+.
*5-4-2010, the dojo, black breath, sleeping in gethsemane, deceiver, and sick world, 7 p.m., $8.
*5-6-2010, the tip top tavern (1341 n. capitol ave., indpls), demiricous (indy), heavy lies the crown (indy), cattle decapitation (ca), and revocation, 8 p.m., $10.
*5-8-2010, the dojo, demiricous (indy), no regard (indy), deceiver, vital error, and picked clean, 7 p.m., $6.
*5-16-2010, the melody inn (3826 n. illinois st., indpls), apostle of solitude (indy), necropharmacon (indy), black pyramid (ma), and let the night roar (ga), 7 p.m., $6.
*5-26-2010, the melody inn, red shadows (indy), rat storm, capitalist casualties, verbal abuse, and fang, 7 p.m., $12.
*5-27-2010, locals only, demiricous, red shadows, and plaguesayer, 9 p.m., free 21+.
Thursday, April 15, 2010
Lair of the Minotaur review... Evil Power
Chicago’s Lair of the Minotaur has never had their metal credentials challenged. They are a band that exudes love of all things metal on their previous releases. Their fourth release, Evil Power on The Grind House Records, is no different. Instantly, the blood soaked skull fragments and inherent lyrical violence are penned against Lair of the Minotaur’s sludgy brand of thrash.
Their previous release, War Metal Battle Master, crashed metal’s front line with sharpened battle axes. Evil Power smashes straight ahead with the band’s raw brand of no nonsense metal. This is a call to arms wielding mighty war hammers instead of blades. It’s unapologetic and as always testosterone fueled.
Evil Power is loaded with thick riffing. The record has an old school feel to it, with a nod to death metal and subtle hints of grind. Lair of the Minotaur’s thrashing sense of groove is immediately felt. The rhythm section, drummer Chris Wozniak and now with Demiricous’ bassist/vocalist Nate Olp on bass, churn out grimy heaps of low end rumble and thunder to match guitarist/vocalist Steve Rathbone’s guitar gnarl and guttural laments.
As to be expected with Lair of the Minotaur the elements of fantasy in the lyrics provide the imagery to meet the savagery of the music. Though not as urgent sounding as previous releases, Evil Power is backed by muscle and heft. This is a record bent on taking its dense sound and emotion to the listener. This is street level metal from and for the underground. It is not pretty or overly technical, but it is a record that will ravage all put before it. The deep grooves hoist riff after riff through the ground, cracking foundations as it pushes skyward, all the while blending varying sub genres of metal into one slab of destruction and rampage.
**Next chance to see Lair of the Minotaur is 4-16-2010 at The Melody Inn for their dual release show with Coffinworm. Red Shadows and Slam Dunk round out the evenings line-up.
Their previous release, War Metal Battle Master, crashed metal’s front line with sharpened battle axes. Evil Power smashes straight ahead with the band’s raw brand of no nonsense metal. This is a call to arms wielding mighty war hammers instead of blades. It’s unapologetic and as always testosterone fueled.
Evil Power is loaded with thick riffing. The record has an old school feel to it, with a nod to death metal and subtle hints of grind. Lair of the Minotaur’s thrashing sense of groove is immediately felt. The rhythm section, drummer Chris Wozniak and now with Demiricous’ bassist/vocalist Nate Olp on bass, churn out grimy heaps of low end rumble and thunder to match guitarist/vocalist Steve Rathbone’s guitar gnarl and guttural laments.
As to be expected with Lair of the Minotaur the elements of fantasy in the lyrics provide the imagery to meet the savagery of the music. Though not as urgent sounding as previous releases, Evil Power is backed by muscle and heft. This is a record bent on taking its dense sound and emotion to the listener. This is street level metal from and for the underground. It is not pretty or overly technical, but it is a record that will ravage all put before it. The deep grooves hoist riff after riff through the ground, cracking foundations as it pushes skyward, all the while blending varying sub genres of metal into one slab of destruction and rampage.
**Next chance to see Lair of the Minotaur is 4-16-2010 at The Melody Inn for their dual release show with Coffinworm. Red Shadows and Slam Dunk round out the evenings line-up.
Friday, April 2, 2010
upcoming shows of interest in indy in april...
*4-8-2010, the 1511, garrote (indy), torch runner (north carolina), and brainwreck (tennessee), $7, 8 p.m.
*4-10-2010, the dojo, apostle of solitude (indy), deadmen (indy), and bulletwolf (indy), $6, 8 p.m.
*4-11-2010, the melody inn, worldeater (indy), kata sarka (indy), and ludicra (california), $7, 8 p.m.
*4-16-2010, the melody inn, coffinworm (indy), lair of the minotaur (chicago/indy), red shadows (indy), and slam dunk (bloomington/indy), $6, 9 p.m.
*4-19-2010, radio radio, red sparowes (california), caspian, and fang island, $10 8 p.m.
*4-22-2010, the dojo, the dockers (indy), abstract artimus (new york), and daikajiu (alabama), 7 p.m.
*4-28-2010, the melody inn, kata sarka (indy), bulletwolf (indy), and music hates you (atlanta, ga.), $5, 9 p.m.
*4-10-2010, the dojo, apostle of solitude (indy), deadmen (indy), and bulletwolf (indy), $6, 8 p.m.
*4-11-2010, the melody inn, worldeater (indy), kata sarka (indy), and ludicra (california), $7, 8 p.m.
*4-16-2010, the melody inn, coffinworm (indy), lair of the minotaur (chicago/indy), red shadows (indy), and slam dunk (bloomington/indy), $6, 9 p.m.
*4-19-2010, radio radio, red sparowes (california), caspian, and fang island, $10 8 p.m.
*4-22-2010, the dojo, the dockers (indy), abstract artimus (new york), and daikajiu (alabama), 7 p.m.
*4-28-2010, the melody inn, kata sarka (indy), bulletwolf (indy), and music hates you (atlanta, ga.), $5, 9 p.m.
Wednesday, March 10, 2010
A Feast: When All Become None
Coffinworm is coming. Hell, they’re already here, but this April will bear witness to their debut release When All Became None on Profound Lore Records. This beast of a record promises the deliverance of dereliction and filth via six soundly hewed slabs of blackened doom-death.
The band, vocalist Dave Britts (Black Arrows of Filth & Impurity, World Eater), guitarist Tony McGuire (Black Arrows of Filth & Impurity), bassist Todd Manning (Black Arrows of Filth & Impurity), drummer Carl Byers (Deadmen, The Dream is Dead), and guitarist Garrett O’Sha (Deadmen), formed in 2007 and immediately started to work on the songs that would eventually become The Great Bringer of Night demo. The quintet quickly established themselves in Indianapolis’ heavy music scene for their intense live shows backed by a solid three song demo recorded at Basement Rage Studio with Bob Fouts. Before the demo was even mixed, Fouts passed it along to Chris Bruni of Profound Lore Records. This handoff of still raw demo recordings led to Coffinworm’s inevitable signing with the label.
Coffinworm, now signed to Profound Lore, set out to complete the writing of When All Became None before heading north to Chicago in late 2009 for their session work with Sanford Parker. Known as master in the studio, Parker’s reputation precedes him when concerning bands he has recorded and the overall production value that he brings to every recording. And by the sounds of the one released track from the record, “Start Saving for your Funeral,” neither Parker nor the band disappoint.
As the release date approaches, Coffinworm have their sights set on series of shows at the long-standing SXSW music fest. As one of the most anticipated releases of 2010, When All Became None has Coffinworm poised to unleash their brand of ferocity on the world. The Cracked Skull caught up with Garrett O’sha upon returning to Indy after the Coffinworm recording sessions with Sanford Parker, and picked his brain about the overall recording experience.
What were the overall feelings within the band leading up to recording with Sanford Parker for your debut on Profound Lore Records? Were you all fully prepared headed into the studio or were there a few loose ends, musically, that needed to be tied up?
We were all very excited to work with Sanford. If you are reading this right now, then you should already be familiar with his reputation. While all of us have been playing and recording music for many years, none of us had ever worked with someone of his caliber. I mean, shit, the motherfucker was in Buried at Sea. So yea, we were a little intimidated as well. We’re not professional entertainers. We’re just some hicks from Indiana, you know? We also have the utmost respect and reverence for Profound Lore. Chris has just released so many mind blowing albums by some incredible bands. This whole thing is just a dream come true for us.
What was Sanford Parker’s preferred method of recording Coffinworm: digital, analog, a mix?
Everything was recorded digitally and ensorcelled with Pro Tools magic.
How long is the album? How many tracks, and what’s the name of the record?
The title of the record is When All Became None, and it’s a full length album. There are six tracks (the shortest of which clocks in at just under six minutes), and while two of the songs appeared on the Great Bringer of Night demo, you will feel like you’re hearing them for the first time. Believe that.
I’m assuming the majority of the record was tracked. How did the tracking of the songs go, and were there any snags during the recording process? Was there any one song that gave you fits? Did you do any live recording as a whole band?
Well, the first day of tracking got delayed a little due to a mysterious issue with Todd’s bass. Luckily, Charlie from Lord Mantis came through and let us borrow one. Actually, he dropped off two basses, but we only used one. Thanks again Charlie and many hails to the mighty Lord Mantis! Once we got started we found these new songs were a bit of bitch to record, since they have some of the fastest and slowest riffs we’ve written. I found myself getting frustrated and asking, “Why the fuck did I write this part?” a few times. But by the end of the week I was glad we decided to take shit to that other damn level.
Did you do any studio experimentation or is the material you recorded basically what you already had written prior to entering the studio?
The arrangements were complete before we got to the studio. We were only up there for eight days, so there wasn’t really time for too much experimentation.
Are there any strange instruments on the album? Did you any different amps compared to your live rigs, and if you did, what was their overall effect? I’m assuming you liked it.
Well, there are some 808 bass hits on there, and we also made use of some plate reverb thing. The end result sounds like someone finally dropped the nukes on your ass. For the guitars we used our usual amps and a Marshall JMP. We did some overdubs with an octave fuzz pedal and some real nice vintage shit like a Leslie rotary speaker unit, Roland Space Echo, and a Fender Twin reverb amp. We ran the bass through an Ampeg V4, Piercing Moose pedal, and a Sunn cab (same as the one Todd usually plays) for some serious balls. I don’t know. I’m the least gear oriented dude in the band, and I don’t usually pay attention to this kind of stuff. Ask one of the other guys and they could probably talk to you all day about this kind of shit.
Since Coffinworm is straight out the Nappy Dugout, how did recording in Chicago influence the overall vibe, mood, and tone of the recording sessions? Were there any studio hijinks that ensued? Any bootleg, kvlt, or hidden tracks recorded late at night?
Well, there are pretty much no windows in the studio. It was cold as fuck up there, so maybe a little extra grimness crept into the mix. Our late night activities were pretty tame. Down time usually involved a bottle of whiskey or vodka and a case of beer. Sometimes we’d watch a movie, but I’d usually pass out halfway through. Wild shit, I know.
How is everyone in the band feeling about the end product from the sessions? Is everyone on the same page and pleased with the outcome?
I think we came home with a very heavy record. We are all very happy about it. Or maybe just less angry…
Your next chance to catch Coffinworm in Indy is March 15 at the Tip Top Tavern with The Gates of Slumber and Pentagram. Then they are off to SXSW March 18-20 for three shows and back to Indy for their album release show on April 16 with Lair of the Minotaur, Lord Mantis, and Slam Dunk at the Melody Inn.
www.myspace.com/coffinworm
coffinworm.blogspot.com
http://www.profoundlorerecords.com//index.php?option=com_content&task=view&id=858&Itemid=2
The band, vocalist Dave Britts (Black Arrows of Filth & Impurity, World Eater), guitarist Tony McGuire (Black Arrows of Filth & Impurity), bassist Todd Manning (Black Arrows of Filth & Impurity), drummer Carl Byers (Deadmen, The Dream is Dead), and guitarist Garrett O’Sha (Deadmen), formed in 2007 and immediately started to work on the songs that would eventually become The Great Bringer of Night demo. The quintet quickly established themselves in Indianapolis’ heavy music scene for their intense live shows backed by a solid three song demo recorded at Basement Rage Studio with Bob Fouts. Before the demo was even mixed, Fouts passed it along to Chris Bruni of Profound Lore Records. This handoff of still raw demo recordings led to Coffinworm’s inevitable signing with the label.
Coffinworm, now signed to Profound Lore, set out to complete the writing of When All Became None before heading north to Chicago in late 2009 for their session work with Sanford Parker. Known as master in the studio, Parker’s reputation precedes him when concerning bands he has recorded and the overall production value that he brings to every recording. And by the sounds of the one released track from the record, “Start Saving for your Funeral,” neither Parker nor the band disappoint.
As the release date approaches, Coffinworm have their sights set on series of shows at the long-standing SXSW music fest. As one of the most anticipated releases of 2010, When All Became None has Coffinworm poised to unleash their brand of ferocity on the world. The Cracked Skull caught up with Garrett O’sha upon returning to Indy after the Coffinworm recording sessions with Sanford Parker, and picked his brain about the overall recording experience.
What were the overall feelings within the band leading up to recording with Sanford Parker for your debut on Profound Lore Records? Were you all fully prepared headed into the studio or were there a few loose ends, musically, that needed to be tied up?
We were all very excited to work with Sanford. If you are reading this right now, then you should already be familiar with his reputation. While all of us have been playing and recording music for many years, none of us had ever worked with someone of his caliber. I mean, shit, the motherfucker was in Buried at Sea. So yea, we were a little intimidated as well. We’re not professional entertainers. We’re just some hicks from Indiana, you know? We also have the utmost respect and reverence for Profound Lore. Chris has just released so many mind blowing albums by some incredible bands. This whole thing is just a dream come true for us.
What was Sanford Parker’s preferred method of recording Coffinworm: digital, analog, a mix?
Everything was recorded digitally and ensorcelled with Pro Tools magic.
How long is the album? How many tracks, and what’s the name of the record?
The title of the record is When All Became None, and it’s a full length album. There are six tracks (the shortest of which clocks in at just under six minutes), and while two of the songs appeared on the Great Bringer of Night demo, you will feel like you’re hearing them for the first time. Believe that.
I’m assuming the majority of the record was tracked. How did the tracking of the songs go, and were there any snags during the recording process? Was there any one song that gave you fits? Did you do any live recording as a whole band?
Well, the first day of tracking got delayed a little due to a mysterious issue with Todd’s bass. Luckily, Charlie from Lord Mantis came through and let us borrow one. Actually, he dropped off two basses, but we only used one. Thanks again Charlie and many hails to the mighty Lord Mantis! Once we got started we found these new songs were a bit of bitch to record, since they have some of the fastest and slowest riffs we’ve written. I found myself getting frustrated and asking, “Why the fuck did I write this part?” a few times. But by the end of the week I was glad we decided to take shit to that other damn level.
Did you do any studio experimentation or is the material you recorded basically what you already had written prior to entering the studio?
The arrangements were complete before we got to the studio. We were only up there for eight days, so there wasn’t really time for too much experimentation.
Are there any strange instruments on the album? Did you any different amps compared to your live rigs, and if you did, what was their overall effect? I’m assuming you liked it.
Well, there are some 808 bass hits on there, and we also made use of some plate reverb thing. The end result sounds like someone finally dropped the nukes on your ass. For the guitars we used our usual amps and a Marshall JMP. We did some overdubs with an octave fuzz pedal and some real nice vintage shit like a Leslie rotary speaker unit, Roland Space Echo, and a Fender Twin reverb amp. We ran the bass through an Ampeg V4, Piercing Moose pedal, and a Sunn cab (same as the one Todd usually plays) for some serious balls. I don’t know. I’m the least gear oriented dude in the band, and I don’t usually pay attention to this kind of stuff. Ask one of the other guys and they could probably talk to you all day about this kind of shit.
Since Coffinworm is straight out the Nappy Dugout, how did recording in Chicago influence the overall vibe, mood, and tone of the recording sessions? Were there any studio hijinks that ensued? Any bootleg, kvlt, or hidden tracks recorded late at night?
Well, there are pretty much no windows in the studio. It was cold as fuck up there, so maybe a little extra grimness crept into the mix. Our late night activities were pretty tame. Down time usually involved a bottle of whiskey or vodka and a case of beer. Sometimes we’d watch a movie, but I’d usually pass out halfway through. Wild shit, I know.
How is everyone in the band feeling about the end product from the sessions? Is everyone on the same page and pleased with the outcome?
I think we came home with a very heavy record. We are all very happy about it. Or maybe just less angry…
Your next chance to catch Coffinworm in Indy is March 15 at the Tip Top Tavern with The Gates of Slumber and Pentagram. Then they are off to SXSW March 18-20 for three shows and back to Indy for their album release show on April 16 with Lair of the Minotaur, Lord Mantis, and Slam Dunk at the Melody Inn.
www.myspace.com/coffinworm
coffinworm.blogspot.com
http://www.profoundlorerecords.com//index.php?option=com_content&task=view&id=858&Itemid=2
Thursday, February 25, 2010
upcoming shows of interest in indy in march...
*3/4/2010--the dojo (4640 e. 10th st. indy), junker (indy), vital error, and worn in red (virginia), $5, 7 p.m.
*3/5/2010--the dojo, red shadows (indy), maravich (indy), sorley trying days, and trophy wives (louisvile), $5, 7 p.m.
*3/6/2010-3/13/2020--various venues in bloomington in., the pit shop music marathon, schedule: http://pitstopmusicmarathon.com/pit_stop/index.php?option=com_content&view=article&id=6&Itemid=6.
*3/14/2010--the dojo, the dockers(indy), transgression (indy), and bluck, $5, 5 p.m.
*3/14/2010--the bishop (123 south walnut st. bloomington, in 47404), young widows (lousiville), phantom family halo (louisville), thank god, learner dancer, and dreamers of the ghetto. $7, 8 p.m.
*3/14/2010--213 south clark st. bloomington, in., sleepbringer (indy), cloud burial (illinois), rat storm, and kata sarka (indy), $5, 6 p.m.
*3/15/2010--tip top tavern (1341 n. capitol ave. indy), the gates of slumber (indy), coffinworm (indy), and pentagram, $15, 7 p.m.
*3/18/2010--locals only, bulletwolf (indy) and maravich (indy), free with valid 21+ id, 9 p.m.
*3/22/2010--the dojo, deceiver (indy), wide eyed (kokomo, in), and title fight (pennsylvania), $7, 7 p.m.
*3/23/2010--the dojo, kata sarka (indy), howl (rhode island), and javelina (philly), $6, 7 p.m.
*3/25/2010--tip top tavern, apostle of solitude (indy), heavy lies the crown (indy), gigan (florida), and bison b.c., $6, 7 p.m.
*3/5/2010--the dojo, red shadows (indy), maravich (indy), sorley trying days, and trophy wives (louisvile), $5, 7 p.m.
*3/6/2010-3/13/2020--various venues in bloomington in., the pit shop music marathon, schedule: http://pitstopmusicmarathon.com/pit_stop/index.php?option=com_content&view=article&id=6&Itemid=6.
*3/14/2010--the dojo, the dockers(indy), transgression (indy), and bluck, $5, 5 p.m.
*3/14/2010--the bishop (123 south walnut st. bloomington, in 47404), young widows (lousiville), phantom family halo (louisville), thank god, learner dancer, and dreamers of the ghetto. $7, 8 p.m.
*3/14/2010--213 south clark st. bloomington, in., sleepbringer (indy), cloud burial (illinois), rat storm, and kata sarka (indy), $5, 6 p.m.
*3/15/2010--tip top tavern (1341 n. capitol ave. indy), the gates of slumber (indy), coffinworm (indy), and pentagram, $15, 7 p.m.
*3/18/2010--locals only, bulletwolf (indy) and maravich (indy), free with valid 21+ id, 9 p.m.
*3/22/2010--the dojo, deceiver (indy), wide eyed (kokomo, in), and title fight (pennsylvania), $7, 7 p.m.
*3/23/2010--the dojo, kata sarka (indy), howl (rhode island), and javelina (philly), $6, 7 p.m.
*3/25/2010--tip top tavern, apostle of solitude (indy), heavy lies the crown (indy), gigan (florida), and bison b.c., $6, 7 p.m.
Sunday, February 21, 2010
show review: bulletwolf, struck by lightning, and coffinworm...
This past Saturday night (2-20-2010) The Melody Inn was privy to a straight up eardrum bashing courtesy of Bulletwolf (Indy), Struck By Lightning (Columbus, Ohio), and Coffinworm (Indy). There was a certain swagger in the air of The Melody Inn that relayed the forthcoming release of the week's tension via cranked amplifiers, howls, crashing drums, and maybe a few too many drinks. The night's action was quickly started by the beer infused and whiskey shot set of raucous good time metal parlayed by Bulletwolf. Their set was filled with ample solos, deep grooves, and an immediate connection to the packed crowd. Heads moved up and down, as many sung along with vocalist and bassist, Worm. The band only let up to wish their guitarist a happy birthday and to continue their raw rocking metal gospel. Bulletwolf seemingly wanted you to lick the floor of The Melody Inn and feel good while doing it. Their set provided the bluster and foul-mouthed opening for the entire night. Next up was Struck By Lightning. This band of Ohioans are no joke. They stack the their amps and cabinets high, strap on their instruments, and proceed to take their form of metal tinged hardcore to the faces of the audience. A looped piece of ambient music opened the set just before the feedback from the amps signaled the beginning of SBL's high octane music. Struck By Lightning are a band that simply never let up. Their sound is huge, bold, and energetic. This energy was immediately transferred from the onstage writhing of the band to the crowd as fists where thrown in the air and shoulders loosened. Their riffs were piled on top of riffs singeing the audience's collective head of hair as heads nodded enthusiastically with each successive pummeling. Between songs the ambient piece played while the band tuned and readied for their next onslaught. After Struck By Lightning's final notes rang out, the crowd clapped and shouted for more setting the stage for Indy's Coffinworm. Coffinworm are a band preparing for their debut release on Profound Lore Records, and on this night they gave their best performance in Indy to date. They took the stage bathed in green light, feedback churning, as a compilation of various gore films played on The Melody Inn's video screen. The crowd was at capacity close to the stage preparing themselves for the ritualistic purging that Coffinworm's brand of blackened doom unleashes. From beginning to end Coffiworm did not disappoint and coalesced into a menacing beast of thunder. Tempos changed from slowly creeping to furious and everything in between as the room's mood grew happily sinister with each song. Vocalist, Dave Britts, took the center of the stage leading the audience as his congregation for the night, while Coffinworm collectively plumbed the dark depths of the human psyche. The total effect was crushing, solemn, and very well received. As Coffinworm played the audience was willing to follow them down every twist and turn, even as their music hit harder and delved deeper into the gloom wrapping up a solid night of heavy music.
www.myspace.com/struckbyfuckinglightning
www.myspace.com/coffinworm
www.myspace.com/bulletwolf
www.myspace.com/struckbyfuckinglightning
www.myspace.com/coffinworm
www.myspace.com/bulletwolf
Saturday, February 20, 2010
In case you're wondering...
Here's what The Cracked Skull sounds like via algorithmic sequencing accomplished through CODEORGAN. Jesuesque? That's mighty hopeful and ambitious.
http://www.codeorgan.com/?url=thecrackedskull.blogspot.com/
http://www.codeorgan.com/?url=thecrackedskull.blogspot.com/
Sunday, January 31, 2010
upcoming shows of interest in february...
*2/1/10--the dojo, deadmen(indy) and fight amp (nj), 8 p.m. $5.
*2/5/10--the vollrath, junker (indy), stand and deliver (indy), the slow death (minneapolis), and off with their heads ( minneapolis), 9 p.m. $5.
*2/11/10--the bishop (123 S. Walnut St. Bloomington, IN 47404), coffinworm (indy), medusa (bloomington), and os (bloomington), 9 p.m., $3.
*2/12/10--the vollrath, mavarich (indy), rooms (indy), the perennials, and impure jazz, 9 p.m., $5.
*2/20/10--the melody inn, coffinworm (indy), bulletwolf (indy), and struck by lightning (ohio), 10 p.m., $6.
*2/21/10--the dojo, red shadows (indy), expire, and rattletooth, 7 p.m, $6.
*2/25/10--the melody inn, summon the destroyer (indy), heavy lies the crown (indy), magrudergrind (baltimore), misery index (baltimore), 10 p.m., $8.
*2/5/10--the vollrath, junker (indy), stand and deliver (indy), the slow death (minneapolis), and off with their heads ( minneapolis), 9 p.m. $5.
*2/11/10--the bishop (123 S. Walnut St. Bloomington, IN 47404), coffinworm (indy), medusa (bloomington), and os (bloomington), 9 p.m., $3.
*2/12/10--the vollrath, mavarich (indy), rooms (indy), the perennials, and impure jazz, 9 p.m., $5.
*2/20/10--the melody inn, coffinworm (indy), bulletwolf (indy), and struck by lightning (ohio), 10 p.m., $6.
*2/21/10--the dojo, red shadows (indy), expire, and rattletooth, 7 p.m, $6.
*2/25/10--the melody inn, summon the destroyer (indy), heavy lies the crown (indy), magrudergrind (baltimore), misery index (baltimore), 10 p.m., $8.
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