Blog — Page 7 of 281

It's been 10 years since the last Blood Brothers reunion. You wouldn't think a second comeback would hit as hard as the first, but the band is truly better than ever. The reunited post-hardcore troupe is back in celebration of their eminent album, Crimes, released 20 years ago. Different openers are filling in throughout the tour, and when they rolled through the Glass House in Pomona, they were accompanied by LA hardcore act, Entry.

I've become more and more familiar with Entry over the past couple of years just from seeing them open for other bands. They always deliver an intense set. Sara G. continues to be a force to be reckoned with. If you're not familiar with Entry yet and you're a fan of power violence and hardcore, be sure to check them out. Heck, odds are you can catch them on any hardcore bill in a 30-mile radius of LA.

The Blood Brothers used to play The Glass House regularly during their original tenure. Coming through with bands like Against Me! and ...And You Will Know Us by the Trail of the Dead. The band coming back was like a sort of homecoming. The band walked out to the apocalyptic theme of The Terminator before the call of "Set Fire to the Face on Fire" kicked off the set. It was like nothing had changed. Co-vocalist, Johnny Whitney, spent most of his time throwing himself into the crowd and screaming with the fans along the barricade while other co-vocalist, Jordan, commanded the stage.

The setlist consisted of tracks across their entire catalog, including "Jennifer" and "Mutiny on the Ark of the Blood Brothers" from their first album, This Adultery is Ripe. The band brought back "USA Nails" from Burn, Piano Island, Burn -- personal favorite that I haven't seen, except possibly for the first time I saw Blood Brothers. The crowd went nuts for "Peacock Skeleton with Crooked Feathers" and Crimes single, "Love Rhymes with Hideous Car Wreck." The energy from the band was palpable with very little discernable difference from 10 years ago, or even 17 years ago. They closed out the night with "The Shame," which seemed appropriate considering the results of the election that was happening at the same time.

The band made comments about this possibly being the last time they tour, so if you're a fan, I wouldn't skip this. Maybe they get a bit more winded now, but overall, The Blood Brothers are still one of the best shows money could buy. They give 110% and leave you asking, 'How are they still able to pull this off?" So put on your skinny jeans, find the white belt you donated at Goodwill, and relive your adolescence.

Vices, outlets, escapes... I'm not sure where things are at here in November of 2024. But as we battle our demons and look for meaning, or escape, music is a blessing.

Here's a new playlist. Many of these artists have been covered at Scene Point Blank, mixed in with tracks that just hit me personally for whatever reason.

Pay it forward. Share good things and be excellent to each other. #SearchPlayRepeat

The perennial Post-Punk/Rock group Sisters of Mercy are back in the States, and this time, they're joined by Electro-Dance Duo Blaqk Audio. The tour swung through The Greek Theater in LA, so naturally, I had to catch the show.

I made my way through Griffith Park and arrived at The Greek just before Blaqk Audio took the stage. Frontman, Davey Havok, commanded the stage, twisting and twirling from one end to the other, as composer Jade Puget provided the beats and hooks from behind his podium. The duo ran through a 45-minute set that consisted primarily of tracks from their 2019 album, Only Things We Love, while touching on other areas of their catalog like "Stiff Kittens" from their debut album Cex Cells and "1948" from 2020's Beneath the Black Palms.

The Sisters of Mercy hit the stage not much after 8. The current line-up is a smattering of previous members as well as new ones. Eldritch continues to be backed by Ben Christo on guitars while bringing on a second guitar player -- Kai from London's metal outfit, Esprit D'Air. Lastly, running Doktor Avalanche is returning member, Chris Catalyst. The line-up is strong and out to shatter expectations. I've heard the horror stories of present-day Sisters of Mercy being a disappointment, but their performance at The Greek Theater was anything but. The band opened with a medley of Vision Thing's "Doctor Jeep" and "Detonation Blvd" and they sounded great. Eldritch's unmistakable vocal timbre boasted unwaveringly from the speakers while Christo and Kai added a sharper tone to the tracks for a stronger Rock sound.

Between the Vision Thing tracks like "Ribbons" and Floodland tracks like "Dominion/Mother Russia," the band threw in several unreleased tracks throughout the years from 1997's "Summer" to 2020's unreleased tracks "Quantum Baby" and "Eyes of Caligua." For a band that typically tries to avoid the literal spotlight, their silhouetted stage presence was powerful and mesmerizing. The only absence felt was the memorable bassline to "Lucretia My Reflection." With the bassline being traded in for a cutting guitar riff, that while different, adds a twist that leaves the audience satisfied.

The Sisters of Mercy and Blaqk Audio will be on the road for the rest of October. I encourage you not to miss the show. Blaqk Audio continues to delight and excite the crowd after all these years. Being the opening act doesn't hinder their performance in the slightest. Despite what you may have heard about past Sisters tours from previous years, the current line-up is energized and sounding great! As someone who went in with a little trepidation, I walked out fully entertained and impressed with the show Sisters of Mercy put on. The band is firing on all cylinders and giving the fans a great show!

Strung Out, Adolescents, and A Wilhelm Scream just got done with a short US Tour. I had the opportunity to catch it as it rolled through So-Cal and I didn't wanna miss it. A Wilhelm Scream opened the show, and after over 2 decades, the band is still out there proving why they're the best. They've found a new guitarist in ex-Heartsounds member and Creator-Destructor Records owner, Ben Murray. They ripped through a 10-song set spanning their catalog from 2004's Mute Print to their newest album, Lose Your Delusion -- released in 2022.

Next up were the legendary, Adolescents. Of all my years going to shows, I've somehow never seen Adolescents. The band is still performing most of their timeless self-titled blue album, but they make sure to cover some of their later albums like "Escape From Planet Fuck" from 2016's Manifest Density and "5150 or Fight" from 2018's Cropduster. They sounded great! Better than some of the other legacy punk bands I've seen in the past few years.

Headlining the tour is Simi Valley's, Strung Out. The band is currently out supporting their new album, Dead Rebellion, which came out this past Spring. They launched into the first track on the new album, "Future Ghosts." They made sure the cover all the bases with a set that spanned their career with tracks like "Too Close to See" from 1998's Twisted by Design, "Analog" from 2004's Exile in Oblivion, and "The Animal and the Machine" from 2015's Transmission.Alpha.Delta.  Strung Out will be making an appearance at NOFX's last shows in San Pedro on October 5th. After a short break, they'll be doing a small run of dates in Hawaii this December.

Iron Maiden
Qudos Bank Arena
Sydney, Australia 
12 September 2024

Essentially, what eventuated tonight transformed Sydney's Qudos Bank Arena into a grand amphitheatre of metal might as Iron Maiden stormed the stage, delivering a performance that felt like the awakening of a sleeping giant. 

Killswitch Engage, the evening’s opening act, took the stage with a ferocity that ignited the crowd like a spark in dry brush. Their high-octane set was a whirlwind of metalcore, their powerful presence creating a maelstrom that had the audience’s adrenaline pumping. The band’s cover of Dio’s “Holy Diver” was a fitting tribute, though the metalcore twist might have been a polarizing choice. Despite the tough crowd, Killswitch Engage’s relentless energy and dedication earned their place in the night’s lineup.

Iron Maiden prepared to make their entrance, the atmosphere in the arena became palpable, like the calm before a storm. The haunting echoes of UFO’s “Doctor Doctor” played over the PA, a prelude to the mayhem that was about to unfold. The lights dimmed, and a surge of anticipation rippled through the crowd as the Blade Runner theme song filled the air, signalling the imminent arrival of the legendary band. When the intro to “Caught Somewhere In Time” blasted through the arena, it was as though a bolt of lightning had struck, electrifying the audience and setting the stage for the night’s grand performance.

Iron Maiden’s setlist blended old and the new material. They navigated their extensive catalogue with the precision of seasoned mariners, steering through classic tracks from Somewhere in Time and the fresh waves of Senjutsu. 

Bruce Dickinson, the charismatic captain of this metal voyage, commanded the stage with the authority of a maestro, guiding the audience through a journey of sound and spectacle. His tales and interactions with the crowd added a personal touch, not unlike a storyteller weaving threads of mythology into a grand epic.

The night’s performance was a symphony of metal, with Iron Maiden’s stage presence as the orchestra and Eddie, their ever-present mascot, as the dramatic centrepiece. 

From the energetic “Can I Play with Madness” to the soaring heights of “Heaven Can Wait,” each song was a chapter in a larger story, unfolding with the grandeur of a classic saga. Eddie’s appearances, whether as a menacing figure or a playful icon, added layers of drama and visual flair to the evening’s narrative.

As the concert neared its climax, tracks like “The Trooper” and “Wasted Years” served as the powerful denouement to the night’s epic tale. The crowd, caught in the whirlwind of Iron Maiden’s performance, was left exhilarated and satiated, having witnessed a masterful display of metal artistry. The band’s ability to blend their storied history with vibrant new material ensured that the night was both a tribute to their past and a glimpse into their future.

Summa summarum, Iron Maiden’s Sydney show was a celebration of metal that combined musical prowess with theatrical splendour. The evening stood as a testament to their enduring legacy and their unparalleled ability to craft an unforgettable experience, proving once again why they are titans of the genre.