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Ira Hunter

Ira Hunter

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AU Vol. 15–1 Issue 85

Saturday, 01 December 2018 00:00 Published in Volume 15

Absolute Underground #85 - XXX-MAS Issue! Legalization Day celebrations featuring an interview with Cannabis Corpse. Also San Francisco & East Bay Punk band interviews including VKTMS, Crucifix, The Pathogens, Dick and Jane, and the Dwarves.

Also in this issue

  • Wolfbrood
  • Punish
  • Shred Bundy
  • Psychostick
  • Claudio Simonetti's Goblin
  • The Reaction
  • Raven
  • The Human Prism
  • Midnight
  • Sloppy Seconds
  • HeWhoCannotBeNamed

AU Vol. 14–6 Issue 84

Monday, 01 October 2018 00:00 Published in Volume 14

Absolute Underground #84 - Halloween Issue! Featuring horror icon interviews from Calgary Horror Con with PJ Soles, CJ Graham, Ken Foree, Tiffany Shepis, James Remar, John Jarratt, George P Wilbur, and David Naughton.

  • Deathtime
  • Turbo vixen
  • Nightseeker
  • Striker
  • Gutter Demons
  • Cleve Hall - Monster Man
  • Zimmers Hole
  • Michale Graves 
  • Randy Rampage Memorial
  • Revocation
  • Stiff Little Fingers
  • Knuckleball

Queens of the Stone Age Live Review

Monday, 13 August 2018 14:10 Published in Underground News

Queens of the Stone Age

w/ Eagles of Death Metal

Commodore Ballroom, Vancouver, BC

August 4, 2018

 

By Lawrence Denvir

 

Let’s face it, scalpers are fucking scum. Sure at times they can show usefulness in that odd time you choose to hit a show at the last minute, but mostly they create an artificial demand that inflates ticket prices – sometimes out of reach of true fans.

 

Step in Aurora with their Illumination concert series – a celebration of music, arts, legalization, and culture in all its diversity. It’s a chance for a handful of verified fans to see their favourite bands for free. And yes, due to the limited availability there will be those left outside the venue disappointed; however, those lucky enough to get inside will have a memorable night.

 

Case in point, Queens of the Stone Age with the Eagles of Death Metal at the Commodore Ballroom. With a capacity of just under a thousand people, the venue allowed fans to be treated to a pretty intimate experience with one of today’s biggest rock bands. Keep in mind this is the same band that, just back in January, packed Vancouver’s Pacific Coliseum (capacity of 17,500).

 

The band blasted through a seventeen song set included a healthy mix from their extensive album catalogue. Josh Homme, frontman for Queens of the Stone Age, towered over the crowd with his imposing height. But regardless of his physically intimidating stature, fans felt welcome to dance around by his friendly demeanour and songs like “Feet Don’t Fail Me” and “The Way You Used To Do” – both off their latest album “Villains”.

 

The crowd bounced around while wristbands provided to them by Aurora were synchronized with the light show. Attendees were clearly energized by “No One Knows”, the song from QOTSA’s album “Songs for the Deaf” which brought mainstream attention to the band.

 

Personal highlights included the underrated “Turnin’ on the Screw” and the cowbell-infused “Little Sister” – the latter apparently a request a fan made earlier that day.

 

The opening act, Eagles of Death Metal warmed the crowd up with a high-energy set.

 

“I’m playing with my best friend in the whole world tonight,” quipped EODM frontman Jesse Hughes referring to Josh Homme. “I’m the luckiest motherfucker in this town tonight.” I’d say there were about a thousand fans who would disagree with you on that one, Jesse.

 

Aurora Cannabis is a community minded, Canadian owned and operated company. For more information on their products, services and the Illumination concert series, check out their social media platforms:

 

www.facebook.com/auroroammj

www.instagram.com/auroroa_mmj

www.twitter.com/auroroa_mmj

 

Queens of the Stone Age set list:

1.       A Song for the Deaf

2.       Do it Again

3.       Feet Don't Fail Me

4.       The Way You Used to Do

5.       If I Had a Tail

6.       Misfit Love

7.       The Lost Art of Keeping a Secret

8.       No One Knows

9.       The Evil Has Landed

10.   In the Fade

11.   My God Is the Sun

12.   Turnin' on the Screw

13.   Domesticated Animals

14.   Hangin' Tree

15.   Smooth Sailing

16.   Little Sister

17.   A Song for the Dead

 

 

AU Vol. 14–5 Issue 83

Wednesday, 01 August 2018 00:00 Published in Volume 14

Absolute Underground # 83 featuring an interview with Twisted Sister's Dee Snider discussing his latest solo release For The Love of Metal. We also catch up with wrestling legend Mick Foley.

Also in this issue:

The Damned interview with Captain Sensible
Mandlebaums
Kobra and the Lotus
KEN mode
Tristan Risk
Bewitcher
Dragonlord interview with Eric Peterson
Social Distortion
Doro
Zeke
Ripcordz
GWAR

Uriah Heep Live Review

Saturday, 16 June 2018 14:57 Published in Underground News

URIAH HEEP –

LIVE IN VANCOUVER B.C. AT THE VOGUE THEATRE APRIL 28, 2018

by William Liira

 

They played three shows in Vancouver in the same year (1972); they played a co-headlining concert with Def Leppard at the Pacific Colesium in 1983; they have a singer from Victoria B.C. who joined them right before they made history as the first hard rock band from the west to ever play in Russia in 1987; they’ve even been referenced on an episode of the Simpsons; but despite all of this, Uriah Heep seem to be a band that many people – including avid music fans of rock bands from that era – in metro Vancouver know little to nothing about. Could this have something to do with the fact that the last Uriah Heep concert to take place anywhere in British Columbia was on August 4, 2001 at a club in Burnaby that no longer exists? I have a very strong feeling that it does. As someone who discovered the band long after this Burnaby gig happened, I was struck with an unusually strong combination of surprise and excitement when they announced early this year that they would finally be returning to perform at the Vogue Theatre on April 28.

 

Almost as soon as that rush on anticipation had started to slowly die down, I was already starting to worry about how many people would actually buy tickets for this event. Coming onstage only to be meet by a sparse crowd would probably make them question if it was even worth their time and money to venture back to Vancouver. Having seen and heard several live recordings of these more recent incarnations of the band, I hated to think how a lukewarm reception would make this upcoming concert the first and last show I would get to see in this area. As me and a friend walked towards the Vogue on Saturday evening, we were both surprised to see a long line of ticket holders that started in front of the venue, extended around the corner onto Smithe street and finished not far from Seymour. I knew that all of those concerns were going to disappear about as quickly as our money would when we finally got inside and started buying beer and merchandise.

 

Before the long awaited return of Uriah Heep was to begin, local heavy metal group Uncle Sid was scheduled to kick off the night. I was completely unfamiliar with them, but I was reassured by my brother in law that they would be worth watching. He was absolutely right. It only took about a song or two for me to realize that I would now have to become a fan. For thirty minutes, all four members of the band gave it their all and seemed to be having the same effect on many of those around us. I also have to give front woman Emerald Green extra credit for her strong and energetic stage presence. This is something that can make or break a performance for any band, especially an opener. In order to really slam your sound down into the eardrums and memories of the audience, you need to have a strong lead to keep their attention and make sure that indifference doesn’t begin to set in. Uncle Sid opened up a very loud and effective line of communication that did three things; 1) They gave those who were already fans even more reason to keep supporting them (2) They made everyone else who hadn’t heard them before realize they had been missing out and needed to start doing the same, and (3) insured that the overall level of excitement would remain high after they left the stage. At this point, it was up to Uriah Heep to match and exceed it to prove that they were still influential rock legends who deserved respect.

 

After making our way onto the floor and up to the front, we settled in at the right hand side of the stage. We were doing our part by maintaining all of that anticipation that had been building up for seventeen years. As the lights went down and the members began to appear, I was glad that I had decided not to go online and look up their setlist from previous shows on this tour. I was still guessing about how they would start things off, and as they began playing the intro to “Gypsy,” a huge grin grew on my face. This powerful epic rocker was originally the first track on their debut album, and here they are once again using this personal favourite of mine to introduce their own special brand of rock to anyone listening. They kept it going with more classic numbers like “Look At Yourself” and “Shadows Of Grief,” an excellent deep album track and a nice surprise that seemed to suggest that the setlist wouldn’t be too predictable. They had just absolutely crushed it with three classics, and as front man Bernie Shaw finally took the opportunity to have a brief chat with us, he acknowledged how long it had been and how many songs they were going to play to make up for it. They kept their classic 70’s sounds coming with “Stealin,” a popular single that had everybody breaking out into an enthusiastic sing along. After that, the band took another quick breather as Shaw told us what I had suspected would happen – they would be playing a lot of those 70’s classics, but they were also going to play a few new songs to give us an idea of what Uriah Heep was all about in 2018. “The Law” from their most recent album “Outsider,” made it clear that they were still all about making good new music and it fit right in with the more familiar repertoire.

 

The crowd was loving the performance, and that love was obviously having an effect on the band. Their execution of every song was flawless and brimming with the sort of energy that you wouldn’t necessarily expect from a band that plays as many shows as they do. They continued to show their technical prowess and musical depth with “Sunrise.” Then it was time for a lesson in music history. Mr Shaw introduced the subject of how music started to change in 1972. Bands like Yes, Genesis, and King Crimson began to experiment musically and prog rock was born. The length of tracks doubled, and certain substances that may or may not have aided in the process were now going to become legal in Canada. He then dedicated their next number “The Magicians Birthday” to an audience member who was celebrating her birthday, and told us to get comfortable because “this next song will take a while.” They had no problem demonstrating why their own contribution to that musically adventurous movement known as prog should be recognized as much as those three aforementioned bands. There are still people who are eager to attach a lot of negativity towards this kind of music. Based on what I saw, none of those people were in attendance. Longer ten minute songs were more than welcomed by the crowd.

 

Shortly after they finished that long form lesson, they calmly started into “The Wizard.” It was this very track that introduced me to Uriah Heep and made me realize there was something unique about this band. Even though guitarist Mick Box is the only member who was involved in the original writing and recording of this song, the sonic potion that they produced was still as potent when put in the hands of the new Uriah Heep in 2018. Now it was time for two more diversions into the more recent back catalogue. “One Minute,” another track from “Outsider” also sounded great alongside the classics. “Between Two Worlds,” from their 1998 album Sonic Origami, was as Shaw put it, “dusted off from the archives and played around with in soundcheck” before they decided to play it. I admire their decision to take chances and pick songs from an era that many people may not be as familiar with. They played it every bit as well as all the other songs and gave everybody more reason to go back and take another look at what they did during that decade.

 

And then it was time to shoot right back to the past and finish off the night with three fan favourites. “July Morning” is an iconic number that become incredibly popular in countries that were at one time closed off from the west. Not even the iron curtain could hold back the power of “July Morning” and it somehow managed to slip through and find its way to the ears of the Russian people in the 80’s. They didn’t care that this song was first written in the early 70’s; good music is timeless. As for the rest of us at the Vogue Theatre - Uriah Heep continued to remind us why we should keep believing this too as they performed it with as much passion as they always have. “Lady In Black” was our final opportunity to sing along to one of their most loved ballads, and we didn’t let them down. Before the final song, Shaw took a bit of time to give a shout out to all the fans from Victoria and said that BC Ferries had to add an extra sailing to accommodate all the fans who came over from the island. He also confirmed that they had finished recording their new album “Living The Dream” and that it would be released in September. Last but not least was “Easy Livin,” which I consider to be their “Smoke On The Water.” They’ll always play it live, and it’s always the one song that the local FM stations will play when they actually get around to playing Uriah Heep, which is not very often. After 97 minutes, they left the stage having proven that they were still worthy of being held in such high regard. They took a chance and came back to Vancouver; all the Heep fans came out in good numbers and showed there are still enough of us out here who love their music. Now I can only hope that’ll give them enough reason to come back for at least one more show.

 

AU Vol. 14–4 Issue 82

Friday, 01 June 2018 00:00 Published in Volume 14

Absolute Underground # 82 - Punk Rock Bowling issue featuring Suicidal Tendencies, Zero Boys, Agnostic Front, Angelic Upstarts, Steve Ignorant of Crass, Old Firm Casuals, Grindline, The Faction, and GBH. We also feature an in-depth Slayer retrospective.

 

Also in this issue:

 

  • Euthanized
  • Roadrash
  • Vile Insignia
  • Return of the Leech
  • Chernobyl Wolves
  • Godfathers of Hardcore Movie
  • Anthrax
  • The Stiffs 1978

AU Vol. 14–3 Issue 81

Sunday, 01 April 2018 00:00 Published in Volume 14

Absolute Underground #81 - 420 Issue featuring interviews with Hashteroid, Brant Bjork, Dopethrone and Sasquatch. We also talk to The Dwarves, Phil Campbell and the Bastard Sons, Ross “The Boss” Friedman, Burn The Priest, and Bret “The Hitman” Hart.

Also in this issue:

  • Rival Gang
  • Widow’s Peak
  • Shallow End
  • Bloodshot Dawn
  • Kvelertak
  • Heron
  • Titty Titty Bong Bong Burlesque
  • The Penske File
  • Urn
  • Vendetta
  • Exits

 

Return of the Leech

Sunday, 08 April 2018 17:47 Published in Underground News

Dirkschneider - Live In Vancouver - March 18, 2018

Saturday, 24 March 2018 13:57 Published in Underground News

DIRKSCHNEIDER – LIVE IN VANCOUVER - MARCH 18, 2018

 

Accept what we do

This message to you

Is rock forever and ever

We’ve still got the feel

The music is real

And we’ll rock ‘n’ roll forever, forever”

 

These lyrics that make up the chorus of the song “Feelings,” originally written by Accept for their 1981 album “Breaker,” so perfectly represents what true Heavy Metal is all about. The challenge of building up and running a band like this amongst all the pressure to conform to trends; the financial difficulties brought about by bad record contracts and sleazy managers; and the risks of stiff competition created by a business model that only allows a small few to rise to the top – all of these things have made life hard for the musician for as long as there has been a music business. Listening to Udo Dirkschneider sing these lyrics in a way only he can really takes these same old themes and amplifies them to the maximum. Any genre that insists on being so loud and proud will often have to face these difficulties in equal measure, and Accept were more than up to the task of cutting through that bullshit to keep going. Dirkschneiders gruff vocal delivery was a very important component of this musical onslaught, and when it was announced that he and his solo group – also called Dirkschneider - would be coming to Vancouver to play a show made up entirely of those classic Udo era Accept tracks for the very last time, I knew that I had to go.

Tickets were bought quickly, and when the morning of January 19, 2017 came around, I was already playing those classic tracks as a way to stoke my excitement for the show. Then I got the bad news via text from my brother-in-law around noon – the show was cancelled! The band had been trapped on a highway in Oregon by a sudden snow storm and there was no way they would be able to get out in time to make it to Vancouver that evening. It was starting to look like we wouldn’t get to see the original voice of Accept sing those classic songs after all. As great as Accept had been when they first played at the Rickshaw Theatre with their new singer Mark Tornillo in 2012, it still wasn’t the same without Udo Dirkschneider behind the mic. Thankfully they announced that there would be a second leg of their North American tour in 2018, called “Back To The Roots Tour Part 2” and a Vancouver date was scheduled for March 18. The morning of March 18 began just like January 19, 2017 did, with one major difference - there was no bad news of cancellations to interrupt me as I cranked those same classic songs.

The first opening band scheduled to play was Rebel Priest, a local hard working band that was about to premiere a few brand new songs they had been working on. Doing this at a high profile gig was the kind of ballsy move that showed how ready they were to take the necessary risks that any serious band has to take in order to stand out. The three new songs, “Really Heavy” “Release The Fire,” and “Space Hookers,” did have a different sound to them, somewhat bluesier and heavier would be a good general description, but the rest of the crowd still seemed to enjoy them as much as I did. This new sound blended in quite well with “Blade Runner” “Giants Of Texas” “Blood and Sands” and “London Soho” which have became familiar staples of their live shows. It’s unfortunate that their set was only about thirty minutes, and it would’ve been nice to have seen more people there to watch it, but that’s how it goes for opening bands who come on first. Still a very worthwhile performance that gave the audience a good idea of what’s ahead for Rebel Priest, who are currently working on a new album.

Next up was Elm Street, an Australian band who was making their Vancouver debut. Before I go any further, I want to say that there was a lot to like about their performance. Very energetic with great musicianship. There were more people in the audience for their set, and from what I could see, the reception was very positive. With that out of the way, I have to be honest about why I wasn’t as enthusiastic about it; they sound a lot like Children Of Bodom. I’m a pretty big fan of early Bodom, which by my definition ranges from “Something Wild” through “Are You Dead Yet,” and there were a few too many times where they would play something that sounded a little too much like the songs from those first five studio albums. At least they didn’t have a keyboardist; that would have been too much. I suppose I have to give them credit for picking the best era of COB to use as a musical guideline to follow. The highlight of their set for me was the well executed cover of “Metal Health” by Quiet Riot.

As the sound crew was finishing their soundcheck, the Rickshaw Theatre was full of fans anticipating the show they had been waiting over a year to see. Then the lights went down and “Fire” by The Crazy World Of Arthur Brown played over the PA as a sort of warning to prepare us for what was to come. Just as the song was ending, members of the band emerged on stage. Now it was time. The musical assault began with “The Beast Inside,” a surprising but still very fitting choice to set the tone for the evening. Dirkschneider had been saying that this second leg of the tour would feature a few changes in the setlist which would include some songs from the 90’s. As good as those three reunion era albums were, the musical landscape in North America had changed, and like many other previously popular Heavy Metal bands from the 80’s, they found their work being meet with much less reception than before. I have to give him credit for not ignoring this time period. “The Beast Inside” “Bulletproof” “Amamos La Vida” and “Objection Overruled” sounded every bit as good along side 80’s classics like “Midnight Mover,” “Fight It Back,” “London Leatherboys,” “Breaker,” and “Love Child.”

The band was laying down a tight performance and Udo was in good voice, propelling them forward and locking in the crowd with several more choice cuts like “Aiming High” “Living For Tonite” “Another Second To Be” “Can’t Stand The Night” (one of my favourite Accept ballads) “Up To The Limit” “Screaming For A Love Bite” and “Russian Roulette.” Both guitarists had a few occasions to show off with solos that didn’t carry on too long or diminish the excitement of the crowd. As they left the stage to take a breather before the encore, there wasn’t any doubt what songs they were saving for last. Up to this point, everybody in the audience, from those on the floor to those in the seated section in the back had not only heard but also literally felt the well organized rebellious noise that Dirkschneider had been pumping out into the venue. As they came back out and finished off with “Princess Of The Dawn” “Metal Heart” “Fast As A Shark” and “Balls To The Wall,” they somehow managed to increase the intensity of this experience just a little bit more. Audience participation is pretty much mandatory when any anthemic numbers are played, and he gave us plenty of opportunities to join in. It felt like he may have got us to sing along a few more times than usual, which was probably done to reinforce the significance of what he would be leaving behind after this show was over.

The band members who joined Udo Dirkschneider on stage may have been different this time around, but that feel of real Heavy Metal music that Accept had first written about in 1981 was still present to everyone of us in 2018. Now that I’ve seen what he can deliver live, I’m even more excited at the possibility to see him perform a show made up exclusively of U.D.O. songs. I can only hope that he and his band aren’t prevented from doing so by any freak storms or accidents when that time comes.

- William Liira


  

AU Vol. 14–2 Issue 80

Thursday, 01 February 2018 00:00 Published in Volume 14

Absolute Underground #80 - Featuring interviews with Mac Sabbath and Galactic Empire. We also talk to Black Wizard, The Vibrators, Cory Bowles, and Danielle Harris.

Also in this issue:

  • Crom/Dam
  • Empress
  • Trev Kill 
  • The Von Rebels
  • Royal Thunder
  • SNFU
  • Nailbomb
  • Dreadnoughts
  • Awkward AC
  • Just Cause 
  • Art Godoy
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