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The Whole Thing With the Summer Slaughter Tour

A year has passed since last year’s Summer Slaughter tour. A pretty good year.

There’s been quite a few good albums releases, with more to come.

The new Code Orange fucking rules.

And don’t get me started on Unleash the Archer’s new masterpiece “Apex”.

That fucking dumpster fire of an album Suicide Silence released this year continues to make me giggle (tee hee). Not because I hate the band, because I hate what they did leading up to the album, and how they colluded with metalsucks and it totally blew back in all of their faces. What can I say, I love seeing people eat crow.

Which brings me to the topic at hand: this year’s Summer Slaughter lineup, and the events surrounding it.

To be fair, they’ve done some pretty cool things this year. They’ve got Dying Fetus and The Black Dhalia Murder headlining, and Origin is pretty ok. Slaughter to Prevail even has their moments. They’ve got a poll up to decide another one of the opening bands for the tour – and it’s nice to see Jungle Rot getting another shot after the whole Mayhem festival debacle.

There are bands from Relapse and Metal Blade in the running too. Unique Leader and Victory records bands aren’t really my thing, but they add variety. Not so sure about the unsigned bands, not familiar with them.

But jesus christ, look how they’re promoting it.

Having people vote for openers? Awesome! Making them vote by visiting the website of a shitty movie starring members of Asking Alexandria and the Blackveil Brides? Gross!

 

 

Now, I did learn a neat little factoid over the past year – I guess the head of Sumerian Records is the organizer of the festival. Doesn’t really change anything I said about last year’s festival – but it does add a some pretty interesting context.

The fact that they’re using the festival’s popularity to reach out to an audience (fans of the Summer Slaughter tour) who probably wouldn’t want anything to do with the movie seems like a really good business move on paper.

warped tour AS promo

Reaching out even further by promoting the movie in conjunction with the Warped Tour would follow suit – you’re (potentially) drawing fans of hard rock and (what passes for) punk. As an advertising strategy in a capitalist market, it makes total sense.

However, I do (still) have an issue with the whole shebang. The demographic audiences for the movie/the stars of the movie (and for the bands/tour).

I’m going to go out on a limb here and say that the majority of people attending the Summer Slaughter don’t like Andy Biersack, or his band the Black Veil Brides (assuming the attendees even know who the band is).

I don’t have to go out a limb to tell you what Andy Ballsack thinks of metalheads. I’ll let him speak for himself, here he is getting boo’d with his band as they walked onstage at the golden gods awards.

So, ah, yeah. There’s that.

Basically, my problem is the “diversification” of metal festivals in the US. In this instance, “Diversification” means appeal to fans who are in a different social class than your traditional metal fans (i.e. they have more money, because they’re not lower/working class).

It might not seem like a big deal, but there are some cultural differences that make this a much bigger change that it sounds like. I’m not saying there aren’t “well-to-do” metalheads – but by and large since it’s inception metal has been made by blue collars for blue collars. And when you change that demographic, you change the art.

summer slaughter 2017

Using the credibility and dedication of established metal fans as a platform to provide a watered down, pale imitation of extreme metal so that “joe evreybody” can enjoy it (and pretend they’re edgy and non-conformist) is exactly the opposite of what transgressive art is supposed to be about.

Or maybe that’s just me.

Metal Stuff’s 2016 Review: The Year in Metal

2015-2016 has been an unprecidentedly good time for metal. We’re in the middle of a “metal bubble”, the market is saturated with excellent material. Not sure how long it’ll last, but (seeing as there isn’t anything really incredible slated to release in December) I thought it would be a good time to sum up Metal Stuff’s best releases and biggest dissapointments in metal: 2016 Edition.

Metal Stuff’s “Top  15” Best Releases of 2016

15) Vivaldi Metal Project – The Four Seasons

vivaldi

This one hit me out of nowhere. I saw something about the release of the album on facebook, checked it out, and BAM. Blown away. Probably one of the most pleasant surprises I’ve experienced this year.

It’s an all-star lineup of metal musicians in a modern (and metallic) interpretation of Antonio Vivaldi’s masterpiece “The Four Seasons”. And by All-Star I mean they have members of Symphony X, Testament, Unleash the Archers, The Scorpions, Helloween, Within Temptation, Stratovarious, Savatage, Trans-Siberian Orchestra, Soilwork, and a whole fuckload more.

I really can’t say enough good things about these guys, this is a piece I would reccomend to metalheads, fans of classical music, and just about evreyone inbetween.

14) Scorched – Echoes of Dismemberment

scorched

I first heard this album through my side gig doing reviews for Hard Attack Magazine.  No bells, no whistles, no frills. Just excellent (old school style) death metal with horror b-movie samples. If you’re into old school death metal – be sure to pick up a copy.

13) Rob Zombie – The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser

zombie-electric-warlock

Have to admit, I was pretty eagerly anticipating this album. I participated in the crowdfunding effot they put forth to make the album happen, I went and saw them live twice in the year leading up to it’s release. And I wasn’t dissapointed one bit.

This is easily his best work since “Hellbilly Delux”, and while he hasn’t completly strayed from the hard rock sound, the band certainly went in a more metallic direction. This is the first album the band’s put out in years that I can listen to from start to finish without skipping a single track. If you’re a Zombie fan, you won’t be dissapointed.

12) Blasphemer – Ritual Theophagy

blasphemer

Kick ass album, read my full review here. Brutal Italian tech death that doesn’t sacrifice on the low end (or become riff-salad). Very highly recommended, this album melts faces.

 

11) Insomnium – Winter’s Gate

insomnium_wintersgate

Sooooooo fucking good. Adding layers of atmosphere to melodic death metal seems like a pretty big risk, but these guys took it and the result was (in this author’s humble opinion) a huge fucking success. I would go so far as to say this is the Melo-Death version of the album Opeth should have released. I’ve always liked the band, but they were never really at the forefront of my musical collection. This album changed that a bit, I’ll be keeping an eye on these guys now for sure.

Proggy and ambient, while still managing to retain the soul of melodic death metal – I highly recommend this album to anyone who will listen. And a few people who won’t.

10) The Devin Townsend Project – Transcendence

devin_townsend_project_-_transcendence

I’ve been a fan of Devin Townsend’s work for over a decade now, but I had never given this side-project of his a listen before this year. And I’m glad I finally did, the man’s a fucking genius. His mix of electronic/ambient music and metal is flawless. Transcendence is a fucking masterpiece from start to finish.

9) Anciients – Voice of the Void

anciients-voice

This album was another pleasant surprise for me in 2016. They ran an (apparently) successful Facebook advertising campaign for months before the album released – so when it dropped that whole “name brand recognition” thing they talk about in advertising took effect. I checked them out just to see, and boy am I glad I did.

Excellent prog metal that ranges from melancholy to borderline brutal, with cleans and screams for days. I’ll be adding this album to my vinyl collection shortly after the holiday season ends (when I actually have money again).

These guys fucking rule.

8) Meshuggah – The Violent Sleep of Reason

meshuggah-the-violent-sleep-of-reason

This one was no surprise, I’ve been listening to these guys for about 2 decades now (since Destroy, Erase, Improve was released in 1995).

I have to admit, I was nervous about this one. I’m not a huge fan of Koloss or Catch 33, and I thought there was a good chance they’d continue in the “artsy” direction of concept albums and slow songs. Boy was I wrong, this is a return to Chaosphere-level heaviness.

I think some of their marketing strategies were a little campy (a delux edition of the album that includes a vinyl mask?), but as far as I’m concerned this album was pure fucking gold.

7) Saor – Guardians

saor-guardians

Admittedly, I have some very strong (and sometimes conflicting) opinions when it comes to the style of black metal known as “post black metal”. I’m hesitant to embrace “post” anything, and (at least in the US) the post-black metal scene is nothing but a bunch of whiny hipsters aping black metal music to seem edgy, when in reality all they’re doing is playing shitty alt-rock with a few black metal elements thrown in.

Saor, to me, embodies the exact opposite of this. It’s a solo project hailing from Scotland, and let me tell you this guy is a fucking artist. He’s the real deal, and a wicked cool guy to boot. He nails the black metal aesthetic and combines it with traditional celtic instruments to create soundscapes that are melancholy and ambient, without sacrificing some of the pure fucking rage at the heart of real black metal.

This guy is pretty much single-handedly responsible for making me redefine what I consider “heavy music”. Nothing but good things to say about this band, and this album simply cements him as a consistently solid and groundbreaking artist.

6) Wormed – Krighsu

wormed-krighsu

This album will rip you a new asshole. Then it will rip your new asshole a new asshole. I think you can see where I’m going with this. By the end of the album you’ll be shitting yourself out of your asshole’s asshole’s asshole.

This album doesn’t let up for a goddamn second. Full on brutal tech-death. Who the fuck knew Spain could produce (basically) the perfect death metal band? Holy fuckshit. I want to buy two copies of this album – one to listen to and the other to leave unopened for posterity. I’ll be telling my fucking grandchildren about how brutal these guys are.

So fucking good.

5) Infant Annihilator – The Elysian Grandeval Galèriarch

ia-cover

Yo dawg, I heard you like blastbeats. So we put blastbeats on your blastbeats.

In all seriousness, no human on earth has any business playing as fast as the drummer does. This British teen duo actually makes deathcore tolerable. Scratch that, enjoyable. Not quite as good as their first album, but still one of the best albums this year.

4) Fallujah – Dreamless

fallujah-dreamless

Not going to front like I’m some O.G. who’s been listening to them since “Harvest Wombs” – I came across this band by chance right after their previous album, “The Flesh Prevails”, was released. I was just surfing YouTube and liked the album artwork (Totally a valid way of finding new music, it’s scary how good YouTube has become in recommending things you might like). I didn’t listen to anything else for a week, and turned a few of my coworkers on to the band.

When I heard they were releasing a new album I was super fucking stoked, and I wasn’t dissapointed. Every track is pure fire, and I still listen to this album at least once a week. I love the fact that they retained the ambient/brutal sound while making sure that each album has it’s own unique sound, atmosphere, and identity. Easily one of my favorite bands period.

3) Sabaton – The Last Stand

sabaton_the_last_stand

I’ve been a fan of this band since I was street teaming for Nuclear Blast pre-2006, and I have to admit I find it pleasantly odd/surprising that a band I’ve listened to for years is becoming as popular as they are. Sabaton is easily the fastest rising band in metal, and they deserve it. These guys are relentless road dogs, with a solid live show. The fact that you learn more about history from a Sabaton show than you do in an entire year of public school in America is just the icing on the cake.

Plus, they wrote a song about the Scottish battle of Bannockburn (that pays tribute to William Wallace and Robert the Bruce) – what’s not to love?

2) Dark Funeral – Where Shadows Forever Reign

dark-funeral-album

These guys are hands down my favorite black metal band. Every album they release is consistent while remaining stylistically fresh and distinct. “Where Shadows Forever Reign” is, in my opinion, their best material to date – and they’re gaining a lot of well deserved international attention because of it. This includes their fair share of controversy – earlier this year they garnered a lot of attention due to members of a local Romanian government announcing they would allow a church-based political group to vet which bands would be allowed to play in the area (in direct violation of the Romanian constitution). This was a direct response to Dark Funeral’s show at Bucovina Rock Castle.

I don’t think a lot of people realize that bands like Dark Funeral and Behemoth are bastions of free speech in that part of Europe, as many Eastern European countries are firmly in the grip of a very conservative church (the Russian Orthodox Church, especially, seems to be radically motivated against heavy metal music).

Even without all the controversy – this is a solid fucking album that I listen to with some regularity. Lord Ahriman is a fucking musical genius.

1) Testament – Brotherhood of the Snake

testament-brotherhood-of-the-snake

Easily the best album release this year. Probably the one I anticipated the most, my full review of the album can be found here. Heavy metal isn’t a contest, but if it was Testament would be winning. I’ll just sum my thoughts on this album up from the first paragraph of my review;

“The “Thrash Revival” has been in full effect since 2015 – it seems like every major player from the Bay Area Thrash scene is back in the studio pumping out the jams. Testament stands out among these giants – delivering, hands down, the best Thrash release of 2016. In fact, I think ‘Brotherhood of the Snake’ deserves a nomination for the best metal album of 2016, period. Considering how good ‘Dark Roots of the Earth’ was, I had high hopes for Testament’s new album. Brotherhood of the Snake not only met my expectations – it exceeded them (and then some)!”

 

Honorable Mentions

  • Abbath – Abbath (huge fan of the guy, not as good as his work in Immortal)
  • Megadeth – Dystopia (This album made me a fan of Megadeth)
  • Fleshgod Apocalypse – King (Criminally underrated band, excellent release)
  • Rotting Christ – Rituals (Not their best work, but really quite good)
  • Killswitch Engage – Incarnate (Second album with Jesse Leach back on vocals, fantastic album!)
  • Otep – Generation Doom (has a few good songs, but has some stiff competition this year for best album)
  • Aborted – Retrogore (these guys never put out a bad album)
  • Hatebreed – Concrete Confessional (If you’ve heard one Hatebreed album you’ve heard all of them – good but not great)
  • Dead by Wednesday – The Darkest of Angels (Love these guys – from the same scene as Shadows Fall)
  • Death Angel – The Evil Divide (excellent and diverse Thrash album)
  • Nails – You Will Never Be One Of Us (Quite the pleasant surprise this year)
  • Be’lakor – Vessels (Good melodeath, if a little bit stereotypical of the genre)
  • Brain Drill – Boundless Obscenity (Jesus Christ, so good)
  • Despised Icon – Beast (Triumphant return of a deathcore band that doesn’t suck)
  • Running Wild – Rapid Foray (These guys are legend)
  • Sodom – Decision Day (German Thrash, awesome album)
  • Vader – The Empire (Pure gold)
  • Starkill – Shadow Sleep (I helped crowdfund the album, was not disappointed one bit)
  • In Flames – Battles (Had a few good songs, better than their last album)
  • Metallica – Hardwired to Self Destruct (They set the bar so low for the past 30 years that even a sub-par thrash album is praise worthy)
  • Avantasia – Ghostlights (just good fun!)
  • Anthrax – For all Kings (hooray for thrash revival!)
  • Entombed A.D. – Dead Dawn (death’n’roll done right)
  • Lacuna Coil – Delirium (Surprisingly good)
  • Gojira – Magma (Good, but not my favorite)
  • Amon Amarth – Jomsviking (Awesome album, but not quite good enough to make my top 15)

 

Metal Stuff’s Biggest Disappointments in Metal, 2016 edition

Devildriver – Trust No One

devildriver-trust-no-one

Considering the lineup changes DevilDriver went through in 2015, I tried to give this album a little wiggle room when criticizing it. 2 guitarists, no bassist, half the band is green. They didn’t really have time to get together and synchronize as a band – this album sound to me like a record company rushed them to meet a deadline. It’s not bad, but to call it anything other than a disappointment would be disingenuous. I hold DevilDriver to a pretty high standard – Dez is a goddamn genius as far as metal is concerned. I hope their next album will be a little better.

Robb Flynn

robbflynn

This fucking guy. Don’t get me wrong, I love Machine Head – and their album from last year (Bloodstone and Diamonds) was fucking excellent. I just can’t take Robb Flynn seriously. He’s a fucking attention whore who tries to stay socially relevant and apes Corey Taylor to do so. He’s an mildly successful social chameleon at best, and an overreacting turncoat bitch at the worst. His treatment of Phil Anselmo in the media was fucking horrid.

Avatar – Feathers and Flesh

avatar_feathersflesh_cover

Maybe I was hoping for “Hail the Apocalypse Part II”, but this album fell flat for me. Which sucks, because they’re a very cool band who’s been underrated for the majority of their career. This album just didn’t clique for me, there wasn’t one song I can honestly say I enjoyed – just a massive disappointment.

Solution .45 – Nightmares in the Waking State II

solution-45-nightmares-2

I can’t quite put my finger on it, but this album just didn’t feel right to me. Like, maybe it was a bit too rushed or under-produced. Which sucks, because Christian Älvestam is my favorite metal vocalist – the guy’s easily the hardest working man in metal and super talented. From Scar Symmetry to Svavelvinter, Torchbearer, Miseration, Quest of Aidence, and all the fucking songs he’s lent vocals to – this guy is the fucking man. He shits excellence, except this album. I feel like he should have spent a little longer perfecting the songs, and not rushing to release a double album.

Whitechapel – Mark of the Blade

whitechapel

It’s sad to see a halfway decent band on the downswing of their career. They tried to stay relevant by releasing a song bashing “metal elitists”, and ironically that’s what seems to have tanked their career. Maybe the elitist ones were correct.

Chelsea Grin – Self Inflicted

chelseagrin

Bands like this are the reason I despise Deathcore. They have one tolerable album, and if I’m completely honest it’s only 50% tolerable (the first half).

Steel Panther

I’d rather let this speak for itself.

Sumerian Records

From every single band on their roster, to the act of completely selling out the image of the Summer Slaughter tour to sell a movie starring the lead singer of the Blackveil Brides, the continued existence of Sumerian Records bothers me. Apparently, in the metal scene money = credibility in some circles. Puke.

Hipsters and Social Justice Warriors

I don’t make it a secret that I fucking hate hipsters. They seem to have the innate ability to ruin anything. I can’t wait till hipster metal is no longer a thing.

Opeth – Sorceress

opeth_sorceress_promocover_revised

I respect when an artist or band wants to branch out, but it doesn’t mean I have to like it. Opeth has earned the right to do whatever the fuck they want, but that won’t stop me from getting my hopes up (and consequently having them dashed on a rock to the point of near death) every single time they get ready to release a new album. The band even signed to Nuclear Blast and were allegedly down-tuning for the record. I was so hyped. I heard the first single, “Sorceress” – SO EXCITED! Then the album dropped, and what transpired afterwards can only be referred to as one of my biggest disappointments of 2016. Fucking artsy prog from a band that had (at it’s peak) some of the best fucking death metal vocals ever.

The Dio Hologram

dio-hologram

Christ, stop capitalizing on the metal god. For fucks sake, he’s dead. Let him rest. It sounds cool, but I really dislike the idea.

As opposed to the Lemmy hologram at the Rainbow that randomly offers you cocaine and compliments your appearance when you walk by. That’s probably the most fitting tribute ever.

So, that’s about it for 2016 in metal.

Say Hello to the Face of This Years Summer Slaughter Tour

If you don’t care who funds a festival (as long as the lineup is good) you should have no problem with this article. After all, you don’t care.

But if you’re like me, you know these people…

AA-asking-alexandria-23957158-500-344black_veil_brides_by_bleedingstarclothing

…have absolutely no place representing an extreme metal festival.

Don’t get me wrong, the lineup for Summer Slaughter this year is light years ahead of what it was last year. It’s fucking fantastic… but it’s brought to you by a movie entitled, “American Satan.”

At first glance, that seems pretty cool. The names kinda lame, but at least it seems to be a rock/metal oriented movie. But then, looking at the cast, I noticed it’s starring the lead singer of the Blackveil Brides, as well as a member of Asking Alexandria.

What the actual fuck?!?

When the Summer Slaughter tour started out, it was a force to be reckoned with. They’re continually billed as “the most extreme tour of the year” and have been pretty famously advertised as catering to fans of “extreme metal”. And for the first year of their existence, this was true.

Then came the slow descent – the lineup steadily got worse every year. I would argue that a big portion of this is due to the participation of Sumerian Records. Initially the label brought diversity to the bill, which isn’t a bad thing. It’s what you’re supposed to have at a festival. But I started noticing a pattern – a few big names in death metal were being used to add star-power to a tour that progressively started catering to an indie label (like independent startup label, not to be confused with shitty millennial/hipster Indie rock).

I’m trying to think of another tour that changed their business model to cater to an indie label with a shitty roster.

Oh wait, now I remember. The Mayhem festival.

I’ll take you one further – Mayhem started to go downhill the same year that Sumerian Records got their own stage (2013). The lineup that year was actually pretty awesome (on par with how awesome this years Summer Slaughter lineup is, considering the formats of the festivals). Post 2013, these changes cause the decline I’ve been referring to. Mayhem went so far downhill, in fact, that it literally dampened the concert draw of headliners like Slayer.

Slayer had played the same venues as Mayhem the previous year, selling out concerts. Strangely, Mayhem didn’t. But why?

Kerry King said it best:

“Do I know this tour wasn’t booked correctly? Absolutely I know this tour wasn’t booked correctly. Gary Holt made the comment that usually there’s the Main Stage, a second stage, a third stage, and then that piece of shit record stage…now what they’re calling a second stage is at best a fourth stage and they’re wondering why people aren’t showing up.

In case you’re not familiar with the whole Mayhem festival debacle, I’ll save you the trouble of a google search. It completely imploded and dissolved.

So let’s recap for a second.

Mayhem festival started out with huge names, as a rather diverse metal festival. They had some heavy hitters, and then filled the roster with up-and-comers from independent record labels that catered to scenes that weren’t even fully accepted in the metal community (This is a good thing, it’s how we keep the music going – but there’s a point, I promise. Bear with me). Slowly they allowed said the independent record label to change the business model of the tour – taking creative control. The label (Sumerian) started using this opportunity as a springboard for shameless self promotion. They even changed the business model of the tour, adding a stage exclusive to the label. After these changes, the tour had one more fantastic lineup. The tour continued with the failed business model and completely dissolved within a period of two years. And it wasn’t pretty. Even Slayer couldn’t save it. Fucking Slayer. This is just as much the fault of that complete garbage label Victory Records, but they never would have been included on the tour in the first place if Sumerian hadn’t paved the way.

Summer Slaughter started out with huge names. They were a specialized festival, but still very diverse. They started making changes and incorporating bands outside the format from a certain scene-catering record label.  Enter 2016. The Summer Slaughter tour lineup is incredible (exactly what happened when Sumerian got their own stage at Mayhem ), but the promoters have allowed Sumerian to use it as a springboard to promote their shitty movie starring members of Blackveil Brides and Asking Alexandria.

The point is…change is not, by itself, a bad thing. In fact, innovation is one thing that keeps metal going. However, when a festival makes changes that have proven to be fatal for their peers, it’s a very bad thing.

Now, I’m not knocking fans of BvB or AA. I personally, despise that style of music, but different strokes for different folks. I don’t have a problem with them, or their fans.

I do, however have a problem with them being the public faces of a tour that promotes itself like Summer Slaughter does (this isn’t the fucking Warped Tour). Especially when you connect the dots and see that this is exactly the sort of business move that shut down Mayhem. I, for one, will not let the majority of my ticket sale go to putting people from Blackveil Brides and Asking Alexandria on the big screen.

A common argument I hear in favor of this sort of sellout move is that the big tours need the money to keep going. Valid argument. Hmmm, is there something they can do to keep the festival in the running without selling out? Maybe they can do what Maryland Death Fest did. They decreased the number of stages to a manageable level, kept all the bands on the bill. A few people might be butt-hurt about it, but they made a sound business move while keeping the integrity of the festival intact. And those guys have been going for at least 5-6 years longer than Summer Slaughter. So, it is not only possible to keep the integrity of the festival intact by not bowing to corporate sponsorship – it might just add to the longevity of the event.Sponsors don’t just give you money and expect nothing in return. The guys at Maryland Death Fest know this.

I think it’s safe to say, if promoters think it’s ok for members of Asking Alexandria and Blackveil Brides to be the public faces of Summer Slaughter they deserve to go down as swiftly, painfully, and publicly as Mayhem. Long live Maryland Death Fest!

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