Reviews

Dying Fetus + Job for a Cowboy + Revocation + Cerebral Bore: 22 Sept 2012 – Dublin

DYING FETUS / All Photos: Rachel Connolly

The "From Womb to Waste" tour hits Dublin on its mammoth European trek and its diverse death metal line-up drags fans to the Pint music venue en masse.

Cerebral Bore

Dying Fetus + Job for a Cowboy + Revocation + Cerebral Bore

City: Dublin, Ireland
Venue: The Pint
Date: 2012-09-22

You know you are about to witness some serious acts of brutality when Dublin's premiere underground metal venue, the Pint, has moved band merchandise from the venue to the pub downstairs. The Pint -- with a capacity of 300 -- is a dark, claustrophobic asylum for every dastardly genre within underground metal. This year it has played host to titans of black metal and death metal: Absu, Exhumed, Obscura, Altar of Plagues, and Suffocation, as well as occult-rocker the Devil's Blood and heavy metal traditionalists 3 Inches of Blood -- none of which saw the merchandise stalls moved to create extra muscle room. Tonight however, sees the return of one of the most well respected, influential, and consistent death metal bands ever to retch their aural abominations upon the world… Dying Fetus. Joining the Maryland power trio on a lengthy European jaunt are three hungry bands carving individual careers in this most uncompromising of genres: Job for a Cowboy, Revocation and Cerebral Bore.

Death metal has always had a strong following in Ireland and judging by the eager young fans stalking the merch tables -- as well as the large turn out from the old guard -- its popularity remains steadfast. Testosterone hangs heavy over the first five rows of fans at the front of the stage as Scottish/Dutch four-piece Cerebral Bore batter all with their frills-free approach to the genre. This band have been slowly gathering speed ever since Simone "Som" Pluijmers took the over the role of vocalist, and her unassuming stature and gentle features are betrayed by a bestial growl in desperate need of an exorcism. Such hellacious vocals—not unlike a female Glen Benton—are equally matched by blunt force musicianship on the likes of "Maniacal Miscreation" and "The Bald Cadaver", and the crowd (especially the rubber-necked fans at the front) do not hold back in their appreciation of this effective death metal band.

Cerebral Bore / Photo: Rachel Connolly

Cerebral Bore / Photo: Rachel Connolly

The fact that each of the support bands are sharing the same drum kit and helping each other hulk gear means that the interchanges between bands are rapidly dealt with. Revocation are next to take to the stage and their technical thrash infused death metal is a revelation to behold in a live setting. Jaw-dropping musical flair and a surprising amount of showmanship makes for a thrilling set, as the band (complete with new bass player Brett Bamberger) rip through "ReaniManiac", "Dismantle the Dictator", "Conjuring the Cataclysm", and the instrumental thrash extravaganza of "Across Forests and Fjords" from their acclaimed albums Existence is Futile and Chaos of Forms. They also treated fans to an airing of "Bound by Desire" off their upcoming EP Teratogenesis -- a song that contains an eye-watering solo which will further cement David Davidson as one of the greatest guitarists of our generation. Revocation ends their set with "No Funeral" and it's clear that this band has surprised the unfamiliar and garnered plenty of new fans in Dublin, tonight.

Revocation / Photo: Rachel Connolly

Revocation / Photo: Rachel Connolly

Job for a Cowboy don't need any introduction considering the amount of band t-shirts affixed to sweaty chests throughout the crowd. A young fanbase gathers close to witness Jonny Davy dominate this small stage with his politically focused death metal diatribes. This band has faced ample adversity since their inception, but credit must be given to Job for a Cowboy for overcoming multiple member changes and accusations of being fake/trendy from the death metal seniors. "Imperium Wolves" and "Children of Deceit" from their latest album Demonocracy blast their way through any remaining reservations, as does set highlight "Regurgitated Misinformation" with drummer Jon Rice's rail-riding double bass patterns causing the confined crowd at the front to smash into each other. Job for a Cowboy have proved their critics wrong and have bypassed the malignant deathcore movement by staying true to death metal's core characteristics. Nevertheless, should they fail to maintain a stable line-up their downfall will come from their own hands and not those of the naysayers.

Job for a Cowboy / Photo: Rachel Connolly

Job for a Cowboy / Photo: Rachel Connolly

Dying Fetus' John Gallagher (guitar/vocals), Sean Beasley (bass/vocals), and Trey Williams (drums) know all about surviving line-up changes and remaining true to their signature sound, prevailing over fleeting trends and dips in genre popularity. Condensing the line-up to a trio on 2009's Descend into Depravity, Dying Fetus has continued down the death metal road much travelled, slamming those hardcore half-time beatdowns into death metal unyielding structures and spicing things up with Gallagher's sweeping solos and the duelling vocal grunts that he shares with Beasley. Typically, younger bands have dived on the sound Dying Fetus have pulverized listeners with for almost 20 years. But those gathered here in the Pint know who the originators are and they have come to support the career efforts of Dying Fetus, and the band thank those in attendance with a set-list that spans their entire discography.

Ploughing through the grooves of "From Womb to Waste" and the biting death metal of "Schematics" and "Your Treachery Will Die With You" in a workman-like fashion, Dying Fetus are not about creating a spectacle, preferring to allow the face smashing intensity of "Procreate the Malformed" and "Epidemic of Hate" do the talking. At random fans jump on and off the stage, as "Subjected to a Beating" and "Invert the Idols" from latest album Reign Supreme slot in seamlessly between the dentist drill riff-grind of "Fornication Terrorists" and older tracks like "Tearing Inside the Womb" and the bluntly-titled "Skull Fucked". Cheers meet the end of each song, most emphatically at the end of War of Attritions' "Homicidal Retribution". The band took a breather before the pairing of fan favourites "Pissing in the Mainstream" and "Kill Your Mother/Fuck Your Dog" to finish their set, furiously. It seems that the Pint has just about managed to survive with the walls intact, but the rest of the venues that hold the remaining gigs on Dying Fetus' "From Womb to Waste" tour may not be as lucky. Enter at your own risk.

Dying Fetus / Photo: Rachel Connolly

Dying Fetus / Photo: Rachel Connolly

SET LIST for Dying Fetus

01. From Womb to Waste

02. Schematics

03. Your Treachery Will Die With You

04. Procreate the Malformed

05. Subjected to a Beating

06. Epidemic of Hate

07. Skull Fucked

08. Tearing Inside the Womb

09. Invert the Idols

10. Fornication Terrorists

11. In the Trenches

12. Homicidal Retribution

13. Pissing in the Mainstream

14. Kill Your Mother/Fuck Your Dog

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less
3

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less
9

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image