The Top Ten Albums of 1996 (Huh?)

I recently posted my list of the BEST ALBUMS OF 2016, for better or for worse. I only got the idea from reading an old journal, where I attempted to assemble a top ten list for 1996. Not only was I amused with a couple of my choices, I was downright dismayed. 

I am proud of myself for nominating 'Through Silver In Blood' by Neurosis for the top spot. This is an album that is now regarded as a classic, but for some reason was ignored by our local music rag BAM Magazine at the time. 

Reviewing the list, one may wonder why I couldn't assemble a solid ten albums, and why did I leave some numbers blank? The truth is, I don't think I've ever had a complete top ten for a calendar year. I usually dig into 3-4 good records and that will keep me busy for a year.

I DID notice that 2016 was the first time since 1996 that NEUROSIS, METALLICA, and DESCENDENTS all released new studio albums, which made me eager to re-visit this past era. So...Here goes!

1.) NEUROSIS- THROUGH SILVER IN BLOOD- I bought this CD a couple of days before it's official April release at The Epicenter Zone in San Francisco. (R.I.P. to a great record store.) I had recorded Neurosis' November, 1995 set at The Trocadero, so I had a few months to familiarize myself with four of the numbers. 

This is the second album in a row featuring the production work of Billy Anderson, but Neurosis ditched him for Steve Albini after this. 

It took one month for the vinyl to hit U.S. shores, as there was no United States pressing at the time, and the import was issued on Play It Again Sam Records. 

Stand Out Cuts: Title track, Eye, Locust Star, Rehumanize, Purify.

2.) METALLICA- LOAD- I bought this on release day in June at Costco. I think it was less than eleven dollars. As sticker on the exterior advertised the long running time of the album. (78 Minutes.) 

This was the follow up to 1991's, THE BLACK ALBUM, so anticipation was running high. They had released a single a few weeks before official release, the grunge-inspired 'Until It Sleeps.' Yes, there was a NIRVANA influence, but the album would reveal ALICE IN CHAINS influences as well.

In retrospect, the new METALLICA logo sucked, the cover sucked, the short hair cuts and new images sucked. Much of the music contained within wasn't that good, either. 

I automatically rocketed this to #2 status, but I am not sure why. I like a few of the songs, and to be honest, it is the hit songs that I enjoy. ('Hero of The Day.)  The first song 'Ain't My Bitch' stumbles out of the gate kind of awkwardly, so it did not set the tone for a strong return.

Standout Cuts: '2X4,' 'Bleeding Me,' 'The Outlaw Torn.'

3.) DESCENDENTS- EVERYTHING SUCKS- Man, this album fell out of the sky! I was browsing CD's at Rasputin's and this appeared in the bins. I couldn't believe it! The first Descendents album in nine years. Of course I bought it, took it home, and was blown away.

(In 2006, when I interviewed Descendents' producer Jason Livermore and said to him that it was as if the album suddenly appeared, he said that it was planned that way. The album was recorded on the down low and released on Epitaph Records.)

This album just kills, and probably deserves the #2 spot. Milo, Bill, Stephen, and Karl each contribute songs, and it all blends into a powerful blend. 

I caught the band in December at the Trocadero for five dollars, and the show was probably the most packed I've ever been to. I struggled up front to get enough oxygen. 

I was convinced that The Descendents were back for good, but they scaled the operation back in 1997, and there would be no new album until 2004's 'Cool To Be You,' which would be generous to call it sub-par.

Evertyhing Sucks, however, remains a BLAST! 

Standout Cuts: 'Hateful Notebook.' 'Coffee Mug,' 'We.'

4.) AMBER ASYLUM- FROZEN IN AMBER- I was a huge fan of these Neurosis associates at the time. AA leader Kris Force had played violin both onstage and on record with Neurosis, and I would check out her Modern Classical outfit Amber Asylum at local venues when I could.

This CD was import-only at the time, so I vaguely recall paying around $23 for this. To be fair, this is not really a studio album, it is a bunch of demo tracks strung together. All told, though, it holds up well and sounds good.

Years later, Neurot Recordings would give this an official American release, and Amber Asylum has gone on to release a few albums. 

Standout Tracks: 'Black Waltz,' 'Riviera,' 'Aurora.'

5.) No Entry

6.) No Entry

7.) SLAYER- UNDISPUTED ATTITUDE- This album was a shocker. Obscure Hardcore cover songs with one new Slayer original tacked on at the end. (Gemini.) 

I liked the IDEA of this album better than the actual release. FIVE covers of Houston/San Francisco legends VERBAL ABUSE? Slayer renditions of D.R.I., TSOL, DR. KNOW, and D.I. classics. That's pretty bold. 

Overall, it's decent, but Metallica and their Garage Days series won't lose any sleep over this.

Standout Cuts: 'Gemini,' 'Mr. Freeze,' 'Violent Pacification.'

SEPULTURA- ROOTS- What the hell? I barely recall this album, how did it make my top ten? Was I paid? 

Truth is that I still own the disc, but it is buried in the closet, and the only song I can remember of the top of my head is 'Roots, Bloody Roots.'

I think this was the last album by the 'classic' era lineup. Not sure. I know I have NO desire to listen to it now.

Standout Cuts: ?

9.) No Entry

10.) LES CLAYPOOL AND THE HOLY MACKEREL- HIGHBALL WITH THE DEVIL-

Okay, now we KNOW I've gone over the deep end. How did this make my top ten? I never even owned this album! I borrowed it off of my friend Larry. 

I was able to name one song off of the Sepultura album, I can't even name one track off of this Primus spinoff! Did I put this in my top ten to look cool? If so, it backfired!

Sorry folks!

Standout Cuts: ????

POSTSCRIPT:

I don't know what to make of the list. It's okay. What does yours look like? The journal entry above the lists states that "I don't know if I am on the road to success, but I am on some kind of road." Strangely, I feel the EXACT same way, twenty years later.

The Week In Rock

Death Angel - 3rd Annual Christmas Show- December 16th/17th, Slim's San Francisco- Well, I had to miss this tradition for the first time! Worked on Friday, went to another show on Saturday. These are the first OFFICIAL headlining live shows promoting The Evil Divide, and by all acounts, these two shows were packed.

Green Day plays secret show and nobody cares- (2/3rds of the band did, anyway.) - On Sunday, 1234 Go! Records in Oakland hosted a benefit punk show, and a couple of guys from Green Day got onstage and jammed some really old numbers. These days, Green Day plays more secret, tiny shows than they do regular gigs. Good luck on their upcoming arena tour.

Metallica plays the Fox Theater in Oakland, December 17th- This was a hard ticket to get! Hetfield and Company were warming up the pot for their upcoming stadium tour. Three songs of the excellent new album and a bunch of fast old cuts. Beautiful. Sorry I missed it.

Neurosis rocks the Regency Ballroom, San Francisco- December 17th. This was the show I participated in. It was pretty good. Four new songs. Good rock and roll. 

Best Albums of 2016

2016: What a year! Kind of bad personally, pretty good professionally, but spectacular musically. Thank God for that. This is the closest I've been able to compile a top ten in a very long time. (Disclaimer: this list contains only nine.)

Some of these were announced months before release. (Metallica, Neurosis, Death Angel.) Some I had no idea were coming out, (KISS, Rolling Stones.) A few just dropped out of the sky into my disc player and provided some killer thrills, (Discharge, Cough, Kicker.) 

Most of these I bought on or very near the release day- Metallica, Neurosis, Death Angel, Discharge, Descendents, KISS, Rolling Stones. CD was the main purchase, but I scored vinyl on quite a few to add to the collection. (Although Descendents and Discharge were pretty flimsy quality vinyl, so I skipped them.)

More than ever, I needed to lean into music for emotional support, and I drained these records of all the foundation they could provide for me.

NEUROSIS- FIRES WITHIN FIRES- (AUGUST 24th)- When it was announced that this album would contain a scant five songs in forty minutes, it may have caused fears that perhaps this Oakland quintet was running low of ideas. On the contrary, it's obvious that the bludgeoning powerhouse wanted to trim the fat of previous releases and hammer home a condensed, compact document. They succeeded on every level. This is all the best elements of Neurosis, and I wonder how they continue to deliver on such a high level. 

(For an elaboration on some of the songs, check out my breakdown of the recent Portland shows.)

  Metallica- HARDWIRED...TO SELF DESTRUCT- (September 23rd)- This album is the SHOCK of the year!!! I liked 'Death Magnetic,' (2008,) but Hardwired blows it away. Twelve songs spread evenly throughout two discs, (although you should buy the three disc version, which was a STEAL at $9.99 on release day.) 

I am already cranking out the miles on the bike with this album as my soundtrack. Admittedly, disc one weighs in with the strongest cuts: Title track, 'Atlas, Rise!,' 'Moth Into Flame,' 'Halo On Fire,' but there is also some very strong material on the second disc: 'Am I Savage?,' and the astounding 'Spit Out The Bone,' Metallica's answer to 'Damage, Inc.' in 2016. Speed Metal is back!

Either James Hetfield or Lars Ulrich described this album as 'Kill 'Em All' meets 'The Black Album,' and that is not too far from the truth. I have bashed Metallica in the past, but never did I think I would say that I was glad the band was no longer a democracy. (Songwriting and control is firmly back in the iron grip of Hetfield/Ulrich, and it works out tremendously.) Kirk Hammett is kept in a corner to crank out guitar solos and bassist Robert Trujillo lays it down and earns a credit for the intro to 'Man Unkind.' 

Vinyl fiends were scattering for the double black vinyl, double red vinyl, and the triple disc deluxe edition. Record stores were handing out posters and turntable slipmats at the point of purchase, making it feel like the glory days of albums sales are BACK.

Hardwired shot to Number One in 57 countries, and deservedly so.

DEATH ANGEL- THE EVIL DIVIDE- (May 23rd)- Death Angel's fifth studio album since their 2004 'The Art of Dying' return. There is a lot at stake for D.A., so Rob Cavestany and Co. record each album as if their lives depend on it. There is very little weak material (if any) on a Death Angel record, and The Evil Divide is no exception.

Strangely, Death Angel have yet to properly tour this album; they piggybacked on a late summer tour with SLAYER and ANTHRAX. Not sure how those shows went, but hopefully the band was able to flesh out great songs like 'The Moth', 'Lost', and the emphatic screaming of Mark Osegueda on 'Hell To Pay'.

DISCHARGE- END OF DAYS- (May 13th)- When I heard England's Discharge had a new album coming out, I had to laugh. Aren't these guys washed up? I thought that there best years were 1980-1984... (Let's not bring up their 1986 show in San Francisco, where they got heckled right off the stage when the former hardcores attempted to play some poser/glam metal.)

Death Angel- Rob sporting Discharge shirt.

When I saw a photo of Death Angel guitarist Rob Cavestany sporting not only a Discharge shirt, but a shirt of their new album, I thought I might have to check it out. Wow! No regrets. 'End of Days' is a relentless album, easily bringing to mind the classic Discharge era of 'Never Again' and 'Hear Nothing See Nothing Say Nothing.'

I would drive around with this blasting in the car on my way to work, and I would exit the ride rattled. The album is like a jackhammer of rage and ripping riffs. 'Raped And Pillaged,' 'Meet Your Maker,' and 'False Flag Entertainment' are a convincing continuation of the Discharge legacy. If I had to deduct a couple of points, it is that the singer is channeling his predecessor, Cal, who left his mark on those early classics.

DESCENDENTS- (July 29th)- This entry is more for sentimental value. The first Descendents album since 2004's woefully inadequate 'Cool To Be You.' On first listen, this new one is a lot stronger and more focused than the last one, but.... I don't know. These guys used to idolize women and was the soundtrack to my teenage crushes. But now that they're in their fifties, and some of the topics are pretty ugly, it makes it difficult to channel my inner high-schooler. However, I give much thanks that Bill Stevenson is still alive after some serious medical issues, but I am not entirely sold.

ROLLING STONES- BLUE & LONESOME- (December 2nd)- Another shock. Why would I want this album? It's a collection of blues covers, not exactly my favorite kind of music. You can attribute my enthusiasm to the great reviews this was getting and the fact that it was recorded in three days. 

I feel fortunate that I was even able to score a copy, it has been selling out all over. It's got a real fun and loose feel to it, incredible to think about since Mick and Co. have been a band for over FIFTY YEARS. Wow.

'Everybody Knows About My Good Thing,' 'Little Rain,' and 'Hate To See You Go' are standout tracks, and suddenly I find myself a fan of the blues. So cool!

KISS- ROCKS VEGAS- (August 26th)- Hey Hey!!! No regrets here!!! I actually attended the first two shows of the Greasepaint Goblins' 2014 residency at the Hard Rock Casino, and I thought it was awesome. I know they recorded the final night of this run of shows, but I never thought it would see release.

What does this album count as? KISS ALIVE 5? KISS ALIVE 6? I am okay with 'Rocks Vegas.' Not only do you get a CD of genuine live KISS Klassics- 'Detroit Rock City,' 'Parasite,' 'War Machine,' but there is also a DVD/Blu-Ray of the concert which is super high quality. 

Gene, Paul, Tommy, and Eric are a tight live outfit, which is pretty incredible, since there is a barrage of explosions and lasers going on around them. 

I got back into KISS about three years ago, and this has been a fun ride. My childhood heroes still crank it out, and that is very gratifying.

COUGH- STILL THEY PRAY- (June)- Okay, this record was merely a Doom Metal stand-in for me until the new Neurosis album came out. This gave me a Sabbath fix for a couple of months, but once Fires Within Fires hit, I quickly forgot about it. 

Cough kicks ass, though! I don't want to penalize them too harshly. Good album.

KICKER- RENDERED OBSOLETE- (September 9th)- This is probably tied for the most fun album on the list. (With the Rolling Stones.) Kicker is an Oakland punk band featuring Pete The Roadie on vocals, and Neurosis dude Dave Ed on bass. 

This is the kind of music I used to hear on the radio (MAXIMUMROCKNROLL) in 1984/1985. After each song, I expect a DJ's voice to come on and re-cap the punk rock set that preceded it. 

Special shout out to the very nice gatefold vinyl package with the free download that comes with it. I don't know how to further describe this record, except the best sing-along is about that thing old people wore around their neck on the TV commercial when the old lady said "I've fallen and I can't get up!" Who remembers that? And who decides to write a song about it in 2016? 

Very endearing.

MY DAMAGE: Keith Morris And OFF!, 2016

 November 12th, 2016- When OFF! announced their eight-city West Coast November tour, I figured the best place to see them would be at The Garage, a dive bar in the beach town of Ventura, CA. The San Francisco choice was Slim's, which is a great venue, but it is more of a nightclub setting. I knew that the show at  The Garage would have cheap beer flowing and a rambunctious crowd. I was not disappointed.

Along the way, Keith Morris scheduled reading/book signing sessions prior to each show at record and book stores. Fortunately, the Ventura stop featured a signing at Saltzer's Records, a great store I've been going to for over twenty years.

As for the book itself, the former BLACK FLAG/CIRCLE JERKS frontman weaves a highly readable memoir, (with the help of co-writer Jim Ruland.) 

In the battle of the Black Flag singers/writers, Henry Rollins has published about 30 books, while Morris weighs in with a scant one. Keith's book is better than AT LEAST fifteen of Henry's books, and that is not a bad showing. (I bring Rollins' 1998 classic 'Smile, You're Traveling' on EVERY trip I take, because I find it to be very inspiring.)

Keith tells an interesting tale of growing up in Hermosa Beach, getting a little too involved in drugs and alcohol, and the perspective of being the lead singer of (at least) three legendary punk bands. 

The Black Flag beginnings are great, of course. The Circle Jerks chapters are engaging. The lean years, where the aging diabetic was earning his living by waiting tables on Sunset Boulevard, those parts are kind of tough. The creative rebirth that eventually materialized a few years ago with OFF! is a positive way to close out the book.

At the Saltzer's signing, my friend Steve and I walked in while Keith was reading from the book. There were about 60 people in attendance, listening to Morris recount the moment he joined Black Flag. I must admit, though, he didn't sound like he was into it. Here's a guy who usually sounds electric every time he speaks. On this occasion, he sounded like he was, well...Reading.

No big deal, however. I was just happy to get my copy of the book signed without being an autograph hound. I mumbled something to Keith about a part in the book I liked, and he just stared at me, offering up the fist for an old fist bump.

After exiting the record store, we had a couple of hours to kill before the OFF! show. When we trekked on over to The Garage, I was surprised to find this place located right in the suburbs. I felt like I was in my own neighborhood with the  residential street parking. As we walked to the bar, I laughed thinking about how the neighbors must love this place, that recently hosted the rambunctious D.R.I. and M.D.C.... 

It was 2150 Hrs. when we walked in, and OFF! were scheduled to go on in ten minutes. Perfect! Just enough time to grab a beer and get right up front. My kind of place: low stage, band members having to walk through the crowd to get to the stage, sweaty atmosphere. 

We stood in front of bassist Steve McDonald, who currently does triple duty in OFF!, THE MELVINS, and his original band REDD KROSS. Those three represent three styles of music, and how he can seamlessly transform between the three is beyond me. He not only rocks, he's also the co-star of one of my ALL TIME favorite movies, 'Spirit of '76.' 

Someone in the crowd yelled out, "I loved your book, Keith!," and the frontman responded "So did my mom..." 

The election was only a few days before, so I thought Morris would go off on the coming political apocalypse, (which I have seen him do in the past,) but Keith was stoic, inferring that he had an open mind for the future.

I would love to give you the set list. I really would. In fact, it would have been hilarious to even try, since we are talking a band that writes songs that average about one minute in length. They go by in short, sharp flurries. 

I did hear all my favorites, though, for sure- 'Jeffrey Lee Pierce,' 'Wiped Out,' 'Peace In Hermosa,' 'Poison City,' 'Rat Trap,' 'I Don't Belong,' 'Jet Black,' 'King Kong Brigade,' 'Hypnotized,' and 'Void You Out.'

The audience was great. Screaming, singing, starting a pit. Egging the band on. Guitarist Dimitri Coats, he IS the second coming of former Black Flag guitarist Greg Ginn. He was sporting two of the most beat up Marshall cabinets I have ever seen, and they still sounded great. 

I had lost faith in punk rock for years until I heard OFF! sometime in 2011. It was the perfect blend of old and new. (So new, in fact, that their 2012 fifteen-minute self-titled album broke the Billboard Top 100, coming it at number 96. That's impressive.)

Plus, their non-greedy ethos is refreshing. The show was cheap at $15, shirts were a steal at $15. CD's for $10, and FREE STICKERS with purchase! If I looked in the mirror during the show, I'd be shocked to find a dude in his late 40's, as I felt like I was 16. 

Drummer Mario Rubalcaba, is of course, great. I have no idea how he remembers the count in of each number, since OFF! songs vary, and when you're playing 30 cuts a night, my brain would be in a blender trying to keep track with them all. True professional. 

Before coming back for an encore, Dimitri asked the crowd to hurl as much abuse at the band as possible, as they would be filming this. It was pretty fun to yell "You Suck!" at the top of my lungs, sounding like I meant it, and other people were weighing in with their own brand of insults. It was pretty convincing. I filmed a portion of this and the people I showed it to asked me "What happened? Why did they boo?" 

As usual, at these awesome shows, it was over much too fast. The Ventura crowd howled it up and continued to party at The Garage. The merch table was doing brisk business, with T-shirts flying and one girl asking "What CD should I buy?" Since there was no backstage, Keith Morris fled to the band's van in the parking lot to recover. 

Let There Be More Light: NEUROSIS, Portland, Oregon, 11/25-11/26/2016

Portland, Oregon- When Neurosis announced two shows at the Hawthorne Theater that would take place during the Thanksgiving break, it was a no-brainer for me to book a flight and skip town. 

In December, 1985, as a 16 year old, I was told of an upcoming gig featuring CLOWN ALLEY and pre-Neurosis outfit VIOLENT COERCION at a shithole in San Francisco called Club Foot. At the time, I had to ask myself if I had the $3.00 for BART? (Hop the gate getting to the city, but had to pay full fare on the return.) Did I have the $3.00 for the show? Yes. Did I have $3.00 for the Violent Coercion demo? No. My friend and I split it, chipping in $1.50 each.

Fast forward 31 years later, and I am asking myself similar questions: Do I have the $300 for the flight? Do I have $300 for the hotel? Do I have X Amount for Neurosis merch? Yes.

I researched Portland's Hawthorne Theater via Yelp beforehand, just to see what I was getting into. The reviews had me frozen- The bouncers are dicks, the sound sucks, there's no ventilation. As usual, the online whining turned out to be entirely untrue, and I am eager to return.

"Was it heavy? Did it achieve total heaviosity?"

-Woody Allen, Annie Hall

Kowloon Walled City

Both nights featured the same triple bill of NEUROT RECORDING artists- Neurosis/Yob/Kowloon Walled City. All three bands delivered their sets with heavy precision on both nights. I'd seen San Francisco's Kowloon Walled City once before, opening for the very same headliner at the Great American Music Hall in 2014. 

The shows commenced precisely on time Friday and Saturday, with Kowloon Walled City hitting the stage at 2000 Hrs... From the get-go, their songs are pounding- 'Your Best Years,' from their latest album GRIEVANCES was a particular standout. On the second night, when they walked out onstage to the closing strains of THE MELVINS' cover of 'Going Blind,' (KISS,) it was the perfect setup. From what I could see, they sold a lot of merchandise, even after explaining "Our merch is over there....Because we're the opening band!"

Yob

As for YOB, man, they are so fucking crushing!!! They're from Eugene, OR, so I am pretty sure they had a lot of hometown fans in the house. Veterans of at least three CLASSIC record labels that I know of- Metal Blade, Southern Lord, and Neurot. Not a bad resume'. 

The trio was a highlight back in 2012 at The Fox Theater in Oakland, opening for Neurosis, and they killed in Oregon as well.

The rhythm section of bassist Aaron Rieseberg and drummer Travis Foster kick ass; of course it's singer/guitarist Mike Scheidt that is quite the force. He is a guitar virtuoso, if that is possible in the Doom genre. His singing can range from a Biff Byford wail to a death metal roar. The audience was mesmerized both nights, but for me the highlight was the 20-minute renditions of 'Marrow,' from the 'Clearing The Path To Ascend' album. Man, this music is so empowering!

However, let's get to what this trip is all about: NEUROSIS, playing two SOLD OUT shows.

Anyone who gambled that Neurosis would perform the same set list both nights to save some money and attend only one show....LOST. There was some rotation and changing it up, which was a killer bonus.

For years, one of my favorite parts of the show is when the band members walk onstage to tune their instruments, tweak the microphone placement, and adjust their pedals while barely acknowledging members of the audience. It is such a concentrated routine, and reminds me of the dark cloud that comes over my head before the band goes on.

On both Friday and Saturday nights, the sets commenced at 2230 Hrs., with Noah Landis walking onstage and giving longtime soundman Dave Clark and the light person the pyramid signal, meaning it is time to darken the venue and start the show.

Set List #1:

Given To The Rising

Stones From The Sky

Bending Light

Lost

Broken Ground 

Fire Is The End Lesson

The Casting of The Ages

Distill (Watching The Swarm)

At The Well

Locust Star

-Given To The Rising- This transported me back to 2007; the opening number of the album with the same name. "Let us rest...," said Scott Kelly, brandishing a #12 Oakland Raiders jersey emblazoned with THE SNAKE on back, a/k/a the immortal Ken Stabler. 

During the final few minutes of this one, the entire band was going off. They were there to kill, and the audience responded accordingly. Noah seems intent on destroying his keyboard setup, I have no idea how it survived.

-Stones From The Sky- The haunting closer from 2001's 'A Sun That Never Sets.' Once again, this is Kelly on lead vocals, though Steve von Till joined in for the "You've been shown, over and over, don't you know?" refrain. From there, the song becomes an instrumental with drummer Jason Roeder pounding it our pretty hard and the rest of the band slashing chords in a repetitive meltdown.

-Bending Light- I traveled this far hoping to hear some new songs, and I would not be disappointed. Over the course of two nights, we would be treated to 4/5ths of the 'Fires Within Fires' album, and the metaphorical opening line of "This restless sea is breaking me" is something I identify with since I work on the The Bay. "The end is endless and washing over me..."

The new songs blending in very well with the rest of the set. The audience knew what was up; they gave every song the proper respect.

(A sidebar about 'Fires Within Fires:' People claim that the music industry is dying, but this is the first Neurosis album since Enemy of The Sun that I was able to buy the CD and the vinyl on release day IN A RECORD STORE. (And even the cassette if I wanted that too.) I like that the album is a scant 40 minutes and only 5 songs. The band claimed they wanted to trim the fat and they did.)

-Lost- It was the fourth number where von Till got the mic and built it up until Dave Edwardson gets to pronounce us all 'Lost' with his stentorian judgment. This is the 'Enemy of The Sun' classic that made me a fan for life when I saw this performed at the Berkeley Square in March, 1994. 

Back then, it was a Steve with long, snaky dreads and Dave Ed sporting equally long sinewy locks. I think this song is now being performed better than ever and that maybe clean(er) living has something to do with it. 

Noah's First Show!

-Broken Ground- This is the perfect mix of Country Rock and Heavy Doom, if that makes any sense. Neurosis previewed this on tour in Europe prior to the 'Fires Within Fires' release, and after checking it out on Youtube, couldn't wait to hear the final product.

We only got this one night in Oregon, and it's rich tones were much appreciated. 

-Fire Is The End Lesson- When I heard this for the first time when I got the new album, I couldn't believe how psychotic it was. It's a bumpy ride. I thought the middle section was a cello, but it's von Till manipulating his guitar to sound that way. 

I filmed a one minute segment during the instrumental part, and the band is banging it out so hard, you would swear that the footage is speeded up. It's uncanny. The crowd looks speeded up too, nodding their heads in unison. 

-The Casting of The Ages- For some reason, I didn't think I'd get to hear this live. Four years after it was first released, I get to check it out. The Portland crowd ate this one up. Wow, Noah just goes off on the keyboard/noise, and it filled the hall with an all-encompassing presence. This one is buried in the latter half of 2012's 'Honor Found In Decay,' an album that featured the welcome return of simultaneous Scott/Steve vocals. The lyrics tell an epic story, I'll leave it up to you to investigate it.

-At The Well- Motherfucker!!!! I first saw/heard this at the Great American Music Hall two nights in a row in January, 2011, almost two years before 'Honor's' release. I will look to Decibel Magazine's recent Neurosis issue and quote Yob frontman Mike Scheidt on HIS reaction to first hearing this song:

"In 2011, when Yob was opening for Neurosis in Portland, we heard them soundcheck 'At The Well.' It was the first time we heard any of the new material, and we kept saying to each other, 'They did it again...'"

Jason Roeder is so loud on the buildup, it brings to mind what one of the band members recently said in a magazine- "In the early days, we had to buy bigger amps so we wouldn't be drowned out by Jason." 

-Locust Star- The memorable crusher. This is the first time (I think) I've seen them close with the 'Through Silver In Blood' classic.

At 0015 hours, the show was over!

Set List #2

Lost

The Web

A Shadow Memory

Distill (Watching The Swarm)

Fire Is The End Lesson

Takeahnase

At The End of The Road

Bending Light

The Doorway

Through Silver In Blood

(In the past, many shows would begin with Pete Inc.'s or Josh Graham's visuals commencing the the set and Noah triggering some unearthly sample so that there was already a psychic barrage before one note was even played. It is quite a site to witness the band circa 2016 walk out onto a darkened stage amidst silence until...."Are you lost?")

-The Web- This is a 'Souls At Zero' favorite that has NOT been treated like a distant relative through the years. Through the years, it has managed to occasionally muscle its way into the set, and the results never disappoint. As a struggling, suffering 20-something, I COMPLETELY identified with the opening line "Leave Me Demons Did I Want You..."

-A Shadow Memory- "When life has exhausted the casting of shadows..." Another deceptive number that lures you in with a clean guitar before pounding you over the head. Track #2 on the new album, with some eerie sounds under the surface provided by Mr. Landis. The 'Fires Within Fires' numbers sound really tight live, which is surprising, only because I don't think the band is rehearsing five days a week. I don't know how they do it, besides collective consciousness.

-Distill (Watching The Swarm)- This one went over well both nights, and I was able to decode the sources of sounds, including Dave Ed's bass scrapes that fill the hall during the 'quiet' part. It's all von Till on vocals though, and the crowd banged along with this one in a near-frenzy.

-Takeahnase- I'm pretty certain this one went through a 20-year retirement until it was re-ignited at the 30th Anniversary shows in San Francisco earlier this year. (In fact, on that first night at the Regency Ballroom, someone tapped me on the shoulder and asked "Did you see the set list??? Takeahnase!!!!" It was news to me and a welcome return.)

-At The End of The Road- Now, I need this explained to me. How can a song that is ALREADY powerful quadruple in power nine years after it was first unveiled? I've seen them open with this one, after thinking it as a non-opener. Saturday night, the dynamics almost imploded the building, it was that strong. (This isn't bullshit hype!!!! I saw it with my own eyes!)

-The Doorway- This is the only number from 'Times of Grace' that would rear it's wolf's head over the two night residency. "That night I saw a burial train..." Every time I ride a BART train through West Oakland, I can see Soundwave Studios off in the distance. This is where the album was conceived over many months back in 1998.

At the Hawthorne Theater, the headbanging was intense during the slow part, and even a pit started during this one.

"Don't Crawl Seek His Burn of War..."

-Through Silver In Blood-  The conclusion of 'The Doorway' was so drawn out, with instruments on the brink of being destroyed, I feared that it would be the last number. In the darkness, though, I could see two stand up drum kits being brought out on stage. Ah, yes. Through Silver In Blood.

A 13-minute song that the band once said of, "You play that one 300 times, and you will end up with one hell of a headache." I believe it.

Summon any Youtube video from the 1996-1997 tour and you will see grown men attempting to kill themselves with intensity. It's scary. Hopefully, time and sanity have made this crowd favorite not so detrimental to perform. What a way to close the show. Portland was graced with two nights and a combined three and a half hours of post-apocalyptic brilliance. 

The crowd roared it's approval at the conclusion, and the lights came up. I exited the theater into the rainy night, replaying in my head what I just witnessed while I walked back to the hotel.