Blue Ox, Tonnage, and Fatty Acid came together for a local show of every kind of fucked up stoner metal imaginable on Thursday night. From purely mammoth doom metal riffs, to stonerized rock, punk, hardcore, and death metal – and everything in between. If you enjoy metal, like to drink on Thursday’s, and live in the Metro, this show was the place to be. Video and photo coverage of the show continues below.
VIDEO: Blue Ox, “2cBent” (live at the Hexagon, 04/23/09)
(Blue Ox)
(Blue Ox)
(Blue Ox)
(Blue Ox)
(Blue Ox)
(Tonnage)
(Tonnage)
(Tonnage)
(Tonnage)
(Fatty Acid)
(Fatty Acid)
Follow our link; there’s more sweet pictures of this excellent local metal show at the Hexagon after the jump… Continue reading
(Andrew Broder)
(Andrew Broder)
(Andrew Broder)
(Frail By Design)
(Frail By Design)
(Frail By Design)
(sorry for the lack of photos because of this). Even as the openers, their technical death metal commanded the attention of the already fully packed venue and their skills especially shined on some of the heaviest tracks from their newest Cosmogenesis. French-Canadian hardcore/tech-death mainstays in Neuraxis followed suit with an incredibly tight set, despite the fact that their bassist was still held back in Canada due to a visa dispute. The band were probably pretty excited to be opening for Corpse either way, and just turned the distortion a bit higher to compensate for the lack of low-end. Personally, I was most impressed with the opening set from the young technical death metal band The Faceless on Friday; having spent the last half of a year on the road opening for some of the best death metal bands in the world, the band seems to be operating on another plateau of confidence these days and it shows. Their set was perfect, and I’ve got nothing else to say besides that. Cannibal Corpse came out on stage to the kind of maniacal, rabid crowd that only the most extreme cult bands can be proud to call their own. This is a band is still referenced as one of the most overtly violent and sexual bands in history; they pioneered a style that a million death metal bands have tried to emulate, and their set that night was as vulgar, vicious, and violent as they could make possible. During their performance, Corpse proved their still on top of theirgame and had the crowd going crazy for songs from all eras, from Tomb of the Mutilated and Butchered at Birth on to the newest Evisceration Plague. It was an impressive performance that had the crowd and band band feeding off each other in a celebration of the sickest side of metal .
(Cannibal Corpse)
(Cannibal Corpse)
(Cannibal Corpse)
(Cannibal Corpse)
(Cannibal Corpse)
(The Faceless)
(The Faceless)
(The Faceless)
(The Faceless)
(Neuraxis)
(Neuraxis)
(Neuraxis)
band was on point that night and ready to impress their ecelectic audience. With everyone from heavily bearded metalheads to formally dressed females in attendance, Dredg had to know that their opening acts and their dynamic catalog would be sure to attract a such a undefinable mix of people – which probably is why the band chose to spend fair amounts of time playing songs from all of their albums, including several songs from their forthcoming album The Pariah, The Parrot, The Delusion. Songs from the recent Catch Without Arms and El Cielo were sounding more impassioned and intimate this time around, and against the back drop of the Varsity their performance was even grander. Even Leitmotif got acknowledged with a performance of “Yatahaze” (video below) that ended with the band proclaiming, “whoa that felt good! We need to do that more often.” Throughout their performance, the entire crowd often sang above the band, and as anyone there would likely agree, we all agreed it was an amazing return.
(Dredg)
(Dredg)
(Dredg)
(Dredg)
(Dredg)
(Torche)
(Torche)
(Torche)
(Torche)
(From Monument to Masses)
(From Monument to Masses)
(From Monument to Masses)
It wasn’t just the fact that Andrew Bird’s encore seemed endless, it was everything leading up to that which was perfection as well. The way the man is able to create music, and piece together different violin lines or whistling sequences is astounding. Most of this has all been said before, it seems to be common knowledge that Bird is amazing live, but to finally see it in person I feel like I have to rave about it. How crystal clear he is able to keep his sound and the way his voice commands so much energy throughout the entire set also surprised me. Though he changed the tempo of delivery on a few lyrics, the way his voice actually sounds is just as beautiful as it is on record. He had a great rapport with the crowd, joking intermittently between nearly every track, somethings that few artists are able to capture. Of course I could gripe about what songs he did or didn’t play (just to note, I would have loved to have heard more Bowl of Fire and Armchair Apocrypha tracks) but I won’t get into that too much. I feel truly grateful and honored just to see him perform, Andrew Bird has a great gift and to be able to share that amount of time with him is a great feeling. The show was a spectacle of all that is concert going: perfect weather, an above awesome venue, an anxious and diverse crowd, an opening act that is surprisingly awesome, and most of all a great set from the big performer. Oh, and did I mention the encores too? I thought so. 
(Andrew Bird)
(Andrew Bird)
(Andrew Bird)
(Andrew Bird)
(Andrew Bird)
(Andrew Bird)
(Andrew Bird)
(Andrew Bird)
(Haley Bonar
(Haley Bonar)
(Fucked Up)
(Fucked Up)
(Fucked Up)
(Fucked Up)
(Fucked Up)
(Fucked Up)
(Fucked Up)
(Fucked Up)
(Bring That Shit)
(Bring That Shit)
(The Nina! The Pinta!)
(Totally Harsh)
a thing) drunk band played an awesome set of some of their best tracks. “I’m going to jail Mom! Just kidding, my parents are out there tonight” the keyboard/drum/vocal extraordinaire pronounced before the first song. The charismatic front man also had a bit of a malfunction half way through the set, with the legs to his drums falling off, boldly claiming after the song was over that “fuck it, I don’t need them.” A big thanks to everyone who suggested these guys, as their music an antics lived up to any and all hype.
(Wavves)
(Wavves)
(Wavves)
(Wavves)
(Wavves)
(Wavves)
(Wavves)
(Vampire Hands)
(Vampire Hands)
(Vampire Hands)
(Vampire Hands)
On what turned out to be another snowy April evening, 
(Friendly Fires)
(Friendly Fires)
(Friendly Fires)
(Friendly Fires)
(White Lies)
(White Lies)
(The Soft Pack)
(The Soft Pack)
his overly boyish dance moves, insanely paced tracking, and random plethora of instruments, Max Tundra was just as much the headliner of Friday night as Junior Boys were. Opening with the fresh “Which Song” which I had mentioned a few days back, Tundra got the floor grooving and laughing, the perfect opening act. 
(Junior Boys)
(Junior Boys)
(Junior Boys)
(Max Tundra)
(Max Tundra)
(Max Tundra)
(Max Tundra)
(Lookbook)
(Lookbook)
MIND INVERSION 