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An Ethical Dilemma...

6/30/2014

3 Comments

 
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Helmet is coming to town. Helmet. One of the bands that led me into the glorious world of heavy metal and is still a band that ranks among my all-time favorites is coming to town. Aftertaste was basically the soundtrack to my senior year in high school. I used to have an olive green Helmet shirt that I wore until it literally disintegrated. And I still didn't throw it out. It's in a shoebox under the bed in my spare bedroom. Helmet is one of the few bands that I have yet to see live and now they are finally coming to town. And I don't want to go.

Yeah, it's not really Helmet anymore. It's Page Hamilton and a bunch of dudes. The
Meantime-Betty-Aftertaste
lineup was done in 1998 and Hamilton hasn't been able to recapture the glory days with his post-1997 releases. But it's still Helmet. That's not the issue here, nor is the fact that Helmet is playing with two gimmicky 90's alt-rock acts and they're not even headlining. No, the issue here is that the show is taking place at a venue here in town that I have been silently boycotting for a long time, The Thompson House in Newport, KY.

I don't know much about the split that caused The Southgate House to move across town a few years back and re-establish itself in an old church as The Southgate House Revival, with the old building being renamed The Thompson House. That kind of bullshit doesn't interest me. We still have The Southgate House Revival, and that's a good thing. It's an amazing venue and they get good shows on a regular basis. The thing that bothers me about The Thompson House is that they are active participants in a ludicrous practice that has done more to hurt heavy metal than anything else over the years. Worse than nu-metal, rap-metal, VH1's
That Metal Show
 and the marginalization of the genre and its fans by the mainstream press lurks an even more heinous threat to heavy metal, and music in general: pay for play.

For those unfamiliar with the practice of pay for play, a venue decides to forego promoting concerts and instead relies on local bands to sell tickets for them. I was introduced to the scam in the early 2000's when a criminal named Paul Riley came into town and put a lockdown on Never on Sunday, one of the few bars willing to feature local metal acts at the time. Riley was involved in a pyramid scheme, reporting to some sleazeball in Detroit named Bill Horvath who claimed to have ties to the music industry via some shitty, electronic nu-metal band whose name escapes me and who, in hindsight, probably didn’t have their own ties to the industry at that point. The band I was in at the time voted to pay Horvath something like $700 to become our “promoter”. (Sniffing out the scam from the get-go, I was the only dissenting vote. Worth mentioning.) For this sum of money, Horvath set us up with Riley to book us at the local venues that they strong-armed into going along with the scam. The only place he ever booked us was a bar in Amelia called AJ's Alley, which was an absolute dump, but that’s not the point. In exchange for the chance to play at such a spectacular and historical venue, we were given a stack of tickets which we were to sell to our family, friends and nonexistent fan base. Oh, and we were on the hook for any unsold tickets. That was fun. I never personally gave either of these idiots a dime and Riley backed down fairly quickly when I told him that we weren't selling tickets and we weren’t paying him. The scam was pretty much toothless and I think they moved on to prey on Columbus fairly quickly. Regardless, these thugs and their scam were pretty effective at destroying and dividing the local metal scene, which really wasn't much to speak of at the time anyway. Now it's 2014 and we inexplicably still have a venue in town that thinks this whole thing is a good idea.

I don't have any personal beef with The Thompson House. I've never tried to book a show there and I don't intend to anytime soon. I don’t personally know a single employee of the venue. This is not a sour grapes argument. I have several friends who play there and sell the tickets for the venue and I have no problem with that. That’s their personal decision and I don’t think any less of them for it. I also don't know the full extent of The Thompson House’s pay for play scam. I do know that bands are required to sell tickets for the venue in exchange for the chance to open for Dope or Twiztid or some other tired, shitty, random band that was famous for 30 seconds, 15 years ago, even if that chance doesn't even materialize on a stage in the same room as the headlining band. I don't know if bands are on the hook for unsold tickets, either. That's not the point. The point is that pay for play is a lazy and easy way for a venue to extort local musicians, in lieu of promoting the shows themselves. Now, The Thompson House rarely gets any credible acts to grace its stages these days, so I understand that promotion must be difficult. However, why not try booking bands that people actually want to see? The promotional aspect probably gets a whole lot easier when there's actually a market for what you're selling. The local bands that agree to participate in this system are certainly culpable, as well. Instead of selling 30 tickets so that you can open for that guy who played drums one time in that one band, why don't you network with other bands in town and play good shows that attract an audience naturally? You're not making any money playing music in Cincinnati anyway, unless you wear a fake mustache and play cover songs, so why not do it the old-fashioned way? All it takes to end this practice is for the bands to refuse to participate. It really is that easy. Pay for play needs to go away for good and I’m finally putting my foot down.

And that is why I am not going to see one of my all-time favorite bands at a pretty cool historical venue in my home region. I simply can't support The Thompson House in any way, shape or form until they get a grip on the music landscape (and the overall business landscape) of 2014 and start empowering their own employees to promote their venue and shows. There is a ridiculously incredible heavy music scene going on in Cincinnati right now and you NEVER see any of the top-flight local bands book a show at The Thompson House. I don't think that's a coincidence. The local scene has proven that it doesn’t need The Thompson House in order to survive and thrive, but it would be nice to have another mid-sized venue in town where good touring bands can make a stop without the show being tainted by a lazy scam that ran its course 10 years ago. This might all seem like a petty reason to skip a concert to some of you, but I believe that everyone needs to have principles and this happens to be one of mine. I'll see you around next time, Helmet.




3 Comments

Recommended Reading and Other Stuff...

6/2/2014

2 Comments

 
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I’m 11 chapters into Dayal Patterson’s excellent new tome, Black Metal: Evolution of the Cult and I’m really enjoying it so far. As a black metal outsider, it’s been pretty cool to learn about the history of the genre and some of the bands that had a huge influence on what we now know as black metal. Some of the bands never really caught my ear, like Venom and Hellhammer, and I’ve had only a passing interest in some others, like Mercyful Fate, but it’s been a lot of fun “discovering” bands like Bathory, Samael and Rotting Christ through Patterson’s words. As a heavy metal blogger, I’ve always felt like I was missing out on a huge chunk of metal due to my lack of black metal knowledge, so I think this book is a great intro for me into the dark abyss. I’m looking forward to covering more black metal on The Blog of Doom someday, when I get it figured out.


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Speaking of reading, there’s a pretty boss new project going on over at Despumation Press, where a talented group of writers are putting together collections of fictional stories based on metal songs and meant to evoke the sound of heavy metal while reading. They’re also publishing some metal-related essays and articles. The first issue of Despumation is now available on their site and they’re looking for submissions for future volumes. I’m looking forward to watching this project take shape.



For my illiterate readers, here's another new video from the upcoming Arch Enemy album, War Eternal, due out June 10 on Century Media Records.

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Lastly, The Blog of Doom stickers are now available. I usually have a stack on me when I’m out and about, so if you see me at show come say “Hey” and ask for one. You can put it on your Trapper Keeper or something.

2 Comments

Editor's Thoughts: Quick Hits on Inquisition and Handouts...

5/8/2014

1 Comment

 
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There's been a considerable amount of chatter recently about whether or not Inquisition is a Nazi band. That's nice for headlines and click bait, but the bottom line is, "Who cares?" They are a middle of the road black metal band on an extremely independent label. They aren't exactly spreading their message to the masses, whether that message is racist or not. Furthermore, this is art, right? Is Inquisition unable to create the art that they want to create? Isn't it up to the music community to choose whether or not to buy the albums? If you're uncomfortable with whatever those dudes are doing, just ignore them. It's not your job to warn others of potentially offensive content, unless you are Tipper Gore and you think you are important. In an era where we have dickheads hiring folks to kill their wives or sick bastards using their "fame" to seduce women in order to molest their children, should we really be concerned about whether or not a dude from an underground black metal band complimented a guy on his swastika tattoo 8 years ago in a rented van? Wow. If that's interesting news, then you're looking way too hard.


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There has been a recent rash of Cincinnati bands using Kickstarter or similar campaigns to fund recording projects. I don't know if this is big in other cities, but with this being Cincinnati we're talking about, I'm sure we're the last city to go this route. Everything that happens in Cincinnati already happened in the rest of the country 5 years ago. For example, people are still obsessed with limp wristed, effete indie rock around here. Enough said. Regardless, I'm just not comfortable with the idea of asking friends, family and complete strangers for money to record an album. It's not like you have cancer or something. Recording an album is a privilege. You are not entitled to recording fees just because your mom thinks your band is neato. I don't know any of these bands or their members personally (and I'm not aware of any metal bands participating in the disgusting trend), so I can't jump to conclusions, but the whole thing seems like the result of the spoiled, entitled generation that spawned out of the 90's. What happened to working hard, saving up money, and then recording an album when you are ready? One of these dudes even went so far as to ask the general public to help support his "life's work". There's a one in a billion chance that this becomes your life's work, pal. I didn't ask anyone to help me become an engineer (or a fake journalist, for that matter). Quit looking for handouts and get back to practice. That's how you make music your life's work. As an aside, I've supported bands on Indiegogo for tour funds, but that feels different to me. If you get offered a once-in-a-lifetime tour, you might need to come up with some funds pretty quickly or you might have to pass on the tour. I don't mind throwing $20 in the pot for that. An album on the other hand, that can wait until you raise the funds on your own.

1 Comment

Editor's Thoughts: Why I Don't Understand Black Metal...

5/2/2014

0 Comments

 
Despite the title of this blog, I'm not only interested in covering doom metal. I'm interested in almost all subgenres within the glorious world of heavy metal. Doom, in this sense, is just a qualifier for all things heavy. Plus, I just find it humorous to add "of doom" to the end of things, even mundane everyday things like "the vegetable garden of doom". That being said, one metal genre that I have always struggled to understand and appreciate is black metal. I get so many black metal releases at the Headquarters of Doom these days and I have a really hard time distinguishing what's bad from what's good. I just go by my instincts, but I always wonder if I'm missing something deeper than the music. Maybe I'm completely upside down on my black metal recommendations. I would never recommend something here on the blog that I wouldn't personally listen to, so any black metal recommendations on here are legitimate. I've made a serious effort to understand black metal in the past year. I fought my way through all 405 pages of psychoanalysis in Lords of Chaos: The Bloody Rise of the Satanic Metal Underground and I sat through an hour and a half of black metal musicians giving half-assed answers and trying to act tough in the 2008 film, Until The Light Takes Us. Maybe it's just not to be for me. If I have to put in that much effort into understanding something, is it even worth it? The saga continues, but for now, here are the barriers to my entry into the world of black metal.

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Corpse Paint

This is probably really petty, but I just can't get past this shit. I just don't understand what's going on here. Are you supposed to be dead or something, because I don't think corpses look like that? The face paint thing was lame for Kiss and it was lame for King Diamond and it's lame for every single black metal band that played along. If you're trying to be as underground as humanly possible, why would you participate in any sort of trend or uniform appearance? That's always bothered me. It seems to me that a lot of today's black metal bands have ditched the paint, but those who were involved can't ever deny it. And I'll never be able to take them seriously.

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Lo-Fi Production

Black metal, from what I can tell, has made huge strides in this area, but the classic bands are nearly impossible for me to get into because they purposefully made their albums sound like shit in a misguided attempt to sound "evil" or something. If you're just making a record for you and friends to listen to while you paint your face like a lizard and go creep around in a cemetery, that's one thing. But if you're planning to release your music to the masses, wouldn't you want it to sound as great as possible? Don't you want people to actually be able to hear the fruits of all of your hard work? I must be missing the boat on this one, because it's still fairly prevalent in the black metal releases that come across my desk. I tend to really enjoy the well-produced, atmospheric black metal records, but the stuff that was recorded on a four-track (or worse) gets about 30 seconds of my time. I don't mind if the vocals are buried, because black metal vocals tend to be boring, but burying the guitars and making them as tinny as possible seems counterintuitive and counterproductive to me. That leads into my next issue...

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Blast Beats

Ugh. This is my absolute least favorite thing about black metal. I understand that you're trying to sound abrasive, but does anyone really need 30+ minutes of the same fucking bass-snare pattern over and over and over again? This is especially galling when the drums are out in front on some of the basement recordings, presumably because the 10-watt amp used on the recording simply couldn't keep up with the drum volume. I'm not a drummer and I've never even sat behind a kit, so I don't know the skill level involved with blast beats. Maybe it's super difficult and everyone should be in awe of the percussive mastery on display here, but it still sounds like shit. You're wasting some bad ass tremolo riffs. Mix it up a little.

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Deafheaven, et al.

I'm not qualified to judge who can and can't play black metal, but I think we can all agree that whiny, angsty dudes need to take their complaints elsewhere. Singing about Satan is one thing, but singing about your teenage breakup is just weak. This appears to be the same technique used by labels when they were trying to make Cradle of Filth trendy. It's kind of an age-old argument though, isn't it? Is the metal community better off when the labels start pushing some subpar shit out and proclaiming it to be the "next best thing"? Maybe the kids who like Deafheaven will eventually get into the good stuff and start bands and make incredible metal. Who knows? On the other hand, maybe someone hears Deafheaven and totally dismisses black metal, or metal in general, because they think it's all this terrible. We need empirical data on this and I'm too busy right now to solve all of the world's problems. Let's get someone on this ASAP.


Despite these barriers, I do appreciate some black metal. I enjoy a couple of Immortal records, despite the goofy imagery. I'm really digging the Winterfylleth pagan black metal sound and there are a handful of bands in the Quebec scene that I can appreciate, like Monarque and Sombres Forêts. I'm not trying to dismiss an entire genre or make light of it. That's not the point of this article. I want to understand black metal. I want to enjoy black metal. There's so much music out there that I feel like I'm missing out on. I just need someone to explain the point to me, or point me in the right direction. All comments are welcome. -JO
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Cincinnati Entertainment Awards, 01/26/14

1/27/2014

12 Comments

 
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I’ve always been curious about the Cincinnati Entertainment Awards and with nothing better to do last night, I decided to check the event out for the first time. First off, let me be clear that I think it’s great that we have a publication like City Beat that is so zealous in its coverage of the local music scene. We have a great scene here in Cincinnati and the team of dedicated music journalists at City Beat appears to do a great job covering and promoting local artists. That being said, last night’s event at Covington's Madison Theater was kind of disappointing.

The entire show was a bit unorganized, with presenters and award recipients nowhere to be found when called to the stage. Presenters didn’t appear to have anything prepared and ended up rambling uncomfortably, like they had no previous notice that they would be presenting. On top of that, the live performances were plagued with sound issues, ranging from microphones not being turned on to uneven mixes to amateur-esque feedback squalls.  When the award recipients finally made their way to the stage, a handful of ladies in costumes tried to distract the audience with dancing and props. It’s not about you, ladies. You didn’t win anything.

The only performing band that really stood out to me was The Tillers, a band nominated in the Folk/Americana category. I would call it bluegrass, but this isn’t a bluegrass blog so we’re not going to debate that here. Anyway, they were really enjoyable and I would recommend checking them out if you get a chance. There was also some solid breakdancing during the evening’s hip hop performance.

The only live performance that I was interested in for the purposes of this blog was the 10 minute set from Moonbow. I hadn’t had a chance to check out a live Moonbow show prior to last night, and I don’t think I’ll be going back for more. Underwhelming is the only word I can think of here. Despite the presence of Valley of the Sun bass monster Ryan McAlister, I’ve always been a little wary that Moonbow was trading on frontman Matt Bischoff’s “celebrity” status from his appearance on Survivor, which is apparently still on the air. Pretty much every Moonbow promo features a mention of Survivor, and the CEAs didn’t disappoint, introducing Moonbow as being fronted by a former Survivor cast member. That’s great that the guy was on a show that no one with a paycheck watches, but can we please start promoting bands based on merit? Maybe it was the bad sound, but I just wasn’t impressed with Moonbow and their lack of energy on stage. I think with a better frontman they might be decent, but right now they’re kind of treading a thin line between run-of-the-mill stoner rock and gimmick band.

As far as the awards themselves, I was fully aware going in that the awards were based on internet voting. Despite some drowned-out rambling from the host last night, I still have no idea how bands are nominated, but that’s beside the point. I can’t judge the merit of the winning bands in most of the categories, as I was really only interested in the Rock and Metal awards. Electric Citizen took home the honors for best Rock band. That seems fair. Those kids are one of the hardest working bands in town and their mix of 70's psych, metal, and doom is extremely catchy. They’re a solid live band and I believe they’re going to have a big 2014.

In the Metal/Hard Rock category, our old friends Moonbow took home the honors, besting my personal choice, and superstars in the making, Valley of the Sun, doom titans Grey Host, a couple of bands I’m not familiar with and Siren, a strong up-and-coming unit who were oddly nominated despite the lack of any releases to their credit. This is where the internet voting becomes an issue. I’m not sure I’m comfortable with a fat guy on his couch in Nebraska voting for Moonbow in the CEAs because, “Hey, I remember that there guy from the Survivor!” Don’t we have enough qualified musicians and journalists right here in Cincinnati to vote on these awards in a sane, rational manner?

I’m glad we have a ceremony like the CEAs to celebrate local musicians, but I hope this year’s show was an aberration and that they usually have their shit together. I’m sure it’s a huge pain in the ass to put this together and to get a bunch of drunk musicians to cooperate, but the show last night came off as a bad high school drama club production. Let’s tighten the reins next year and make this more of a professional production. I am happy to volunteer. -JO

12 Comments

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