Warhog Narrates Our Dystopian Present

 

 ALBUM REVIEW: WARHOG -The Dystopian Chronicles, Vol. 3

Not having been privy to volumes 1 and 2, my open mind soaked up Warhog's Thrash/Power/Prog Metal gleefully. The Dystopian Chronicles, Vol. 3 does what it says on the label - providing an analysis of what Cool Zone Media's "It Could Happen Here" refers to as "The Crumbles," the general erosion of societal glue and norms, leading to the generally unsettled and irritated attitude everyone is swimming in these days.
As an EP, I've only got four songs to review. "Unleash the Beast" opens with a nice (if standard) ethereal ambience before Robert Powers' drums kick in, Eric Kendall's rhythm guitar joins in. A pedal switch adds distortion and Scott Beetley's vocals come in clear as day narrating the current climate of corporate greed destroying everything good (online, Cory Doctorow calls it "enshittification," check out several episodes of the podcast "On The Media" where he elaborates) because the beast has been unleashed.
"Future Shock," originally a book by Alvin Toeffler seeking to explain the rapidly changing culture of the late 60s (they hadn't seen anything like social media) brings the listener through the anger and frustration of common people in a world being destroyed by industry within which the voiceless many toil. As much as "Unleash the Beast" introduces many of the ideas and mindsets, "Future Shock" delivers a thesis.
Four songs, but twenty-five minutes means Warhog gives themselves room to stretch and express themselves more fully. "Hollow" starts its seven-and-a-half minutes at a slower pace (it was here I stopped and added "Prog" to the genre description above.) No less ardent a critique of the dystopia brought by industry, finance, mass media, and the corruption of everything than "Future Shock," "Hollow" wants to make sure you get it. If ever a video for this tune appears, it will spend the musical interlude's four-plus minutes showcasing scenes of industrial destruction before a Power Metal interlude yearns for relief.
A bit on the nose for a title, but "Stewards of a Broken World" starts us with some nice Iron Maiden-esque guitar work working beautifully with the vocals to bring real hope to this dystopia they chronicle. Maintaining the Progressive Groove sound, the tune rises and falls in tempo and stridency. The line "There's nothing we can do but watch it burn" precedes over a minute of solos. When singing returns, the cynicism remains at a ten.
To maintain the concept album illusion, a seventeen second faux radio transmission closes out this powerful critique of the state of the world we find ourselves in.
My personal left-wing politics interpret these tunes in a specific way, but the songs themselves are mostly observational and generally critical. Anyone elsewhere on the political spectrum, so long as they accept the science of climate change will find something familiar about the rage at what is being done to us in the name of more profits for the oligarchy.
The music behind the message is excellent, and I think I'm gonna try to find Vol. 1 and 2 for the full set.
If you like guitars in your hard rock and heavy metal, aren't looking for incoherent screams, and have an open mind about the world outside your door, this EP is right up your alley (provided said alley isn't jammed full of municipal waste.)



Buy the album here: https://warhog.bandcamp.com/

10 / 10
LARRY ROGERS

Larry Rogers, Ghost Cult Magazine, Warhog, Scott Beetley, Eric Kendall, Robert Powers, Justin Hopper, Iron Maiden,Power Metal, Thrash Metal, Progressive Metal, Cool Zone Media, It Could Happen Here, Cory Doctorow, Alvin Toeffler, On The Media, Yugoboy Productions, Yugoboy's Stereo

Deathblow Lands Political Blow Of Rage

 

 

ALBUM REVIEW: DEATHBLOW - Open Season - Sewer Mouth Records

Twelve minutes of music.

Twelve minutes of Punk Rock music.

Twelve minutes of some of the best hardcore it has been my privilege to review.

It's an EP, so twelve minutes is to be expected. Fortunately, all twelve minutes of Deathblow's Open Season (Sewer Mouth Records) is punk as f***.

Hardcore punk like M.O.D., S.O.D., Suicidal Tendencies, and their mid/late-eighties contemporaries made doesn't seem to have a huge audience in my western New York stomping grounds, which is a ruddy shame. I would go to see these guys in a heartbeat.
 

Opening with title track "Open Season," brain-melting power takes over, revealing just how political these guys are. So glad they're on the right side of history. Us lefties need outlets for their rage, too.
"Deny Defend Dispose" has some  powerful messaging about America's righteously inequitable health are system. The guitar solos they manage to cram into these twelve minutes help make Open Season feel longer and "Deny Defend Dispose" allows Holson Grossl and Adam Kelly to shred  with glorious abandon.

Unusually introspective "Tormentor" follows, boiling with anger. Holson Grossl (also vocalist) aims the gut-wrenching frustration of many at the inchoate tormentors of most non-oligarch Americans. "Tormentor" is nowhere near as pointed as "Deny Defend Dispose" or "Open Season," but the simmering unfocused fury of 21st Century culture makes this one almost anthemic (were it more, you know, anthemic.)
 

"Never Again" takes a minute to get to Grossl's vocals, while Paul Lachika and Rob Larson treat us to a ferocious display of how bass and drums respectively are essential to the sound of Deathblow and the Hardcore genre generally. Normally background and easily dismissed, the rhythm guys deliver the gasoline that fuel all those black-eye producing mosh pits. "Never Again" may be one of the most effectively subversive pleas for ending the genocide in Palestine as well.
 

 

Twelve minutes.
 

I wish there was more.
 

Few enough bands wear their left-wing politics so brazenly any more. Besides Dropkick Murphys, I'm having some trouble coming up with anything this decade. The right has a huge percentage of Country Music (and they can have it) but us lefties have to be satisfied with the Murphys and old copies of Laaz Rockit's Surf Nicaragua and Dead Kennedys stuff. We thought we had a lot to rage against during Reagan and H.W. Bush. We hadn't seen anything.
 

I'm gonna stop myself here (this rant could take a while) and simply give these twelve minutes of mind-blowing slam dance fodder a full ten and a strong encouragement to buy this now.



Buy the album here:  https://deathblow1.bandcamp.com/album/open-season
10 / 10
LARRY ROGERS

Larry Rogers, Ghost Cult Magazine, Deathblow, Sewer Mouth Records, M.O.D., S.O.D., Suicidal Tendencies, Dropkick Murphys, Laaz Rockit, Dead Kennedys, Holson Grossl, Adam Kelly, Paul Lachika, Rob Larson, Hardore Punk Rock, Yugoboy Productions, Yugoboy's Stereo

Harem Scarem sadly missed Headbangers Ball

 

 

ALBUM REVIEW: HAREM SCAREM - Chasing Euphoria - Frontiers Music s.r.l.

This album is a catchy, groove-filled, joyously fun romp through pre-Grunge AOR metal. Harem Scarem's Chasing Euphoria (Frontiers Music s.r.l.) instantly jumped onto my 2025 Top Ten list within moments of hitting "play".
The title track, "Chasing Euphoria" stabbed an ear worm into my skull. I cannot stop bouncing to it. The rest of the album - the press kit called the genre "Melodic Hard Rock," which must be their way of avoiding "Hair Metal" or "Glam Metal" - doesn't matter, this just makes me happy.
Released about a month ago as of this writing, I find myself playing it again and again despite not needing to do a review.  If I like it this much, I gotta share it.
Initially formed in 1987 in Canada the biography in the press kit shares a journey from local grinders working twelve years to get signed and then enjoy a mid-range career with international fans, a temporary name and genre change before settling into this tight bundle of awesome.
I am quite sure a good Google would fill in all the gaps I left in that run-on sentence.
"Better The Devil You Know," "Slow Burn," and "Gotta Keep Your Head Up" tumble all over each other with all the catchy, bouncy fun you found slathered all over MTV at the time these guys started. Definitely before Grunge.
"World On Fire" is the obligatory power ballad this genre makes almost mandatory. It's not bad for all that. (I am on record as a non-fan of power ballads.)
"In A Bad Way" is slower, but more AOR rock than power ballad. "Reliving History" follows and brings the fun back with it. "A Falling Knife" rounds out these eight tracks with a solid rocker.
Honestly, the first half of this album is epic. The second half is very good. The whole thing is worth the price of admission. (The power ballad got the "9" below, your mileage may vary.)
I would love to see a packed venue with these guys. The show would register on seismographs far away.


Buy the album here: https://soundcloud.com/haremscarem/sets/chasing-euphoria-5

9 / 10
LARRY ROGERS

Larry Rogers, Ghost Cult Magazine, Harem Scarem, Frontiers Music s.r.l., Melodic Hard Rock, Hair Metal, Glam Metal, AOR, Canada, Yugoboy Productions, Yugoboy's Stereo

Swedish Rockers Degreed Bring Back The 80s with Terrier Energy

 

ALBUM REVIEW: DEGREED - The Leftovers Volume I (EP) - Frontiers Music s.r.l.

I can't wait for Volume II. Seriously. Cannot wait because Volume I rocks.
Wait.
I should end with that. Lemme tell you about Degreed's The Leftovers Volume I (Frontiers Music s.r.l.) first.
Celebrating their fifteenth year these  Swedish metal monsters feel genetically engineered to spike my amygdala with joy juice. "If It Wasn't For Me" opens with a Bon Jovi-esque apology to a lover because "This could be perfect/If it wasn't for me. . . If it wasn't for me/You wouldn't be crying." Instead of a schmaltzy power ballad we get a rocker - straight-up eighties-style MTV Headbangers Ball glossy guitar solos and strong, clear vocals.
Daniel Johansson's tortilla chip-crunchy guitars open "Good Enough," destined to be some affirmation junky's new favorite song.  I mean, how many times can "I'm good enough" pound through your skull before you'll believe it? The relentlessly upbeat and frantically paced "Love Your Enemy" follows and ends with a literal smash. The guitar solo's a bit short, but welcome, nonetheless.
Keeping up the pace "Wildchild" pleads "Can't you hear me screaming? I'm not a bad guy. I'm a Wildchild" and more self-defensive lines with reckless abandon. This particular guitar solo kicks hard while doing things I didn't quite expect.  The second one (yes two guitar solos in one song!) is a bit more standard, but still squeezes out more amygdala joy juice.
"Get Up!" live has got to make any venue pulsate with the energy of a thousand feral cats. As good as the verses are and the singing in general, "Get Up!" repeated at this beat would be impossible for a corpse to ignore. (Another great little Johansson solo accent only ups the awesome.)
Given the straight Hair Metal vibe of the first five tracks, I suppose a power ballad was to be expected.  "Hard To Be Human," at least hits the "power" side of power ballad and keeps the schmaltz level to a minimum.
The digital (and review) version of this is only six tracks. It also happens to be available now. At the time of this writing, you'll need to wait until July 18, 2025 to buy the physical version and get nine tunes. I can only hope they're as punchy and fun as these six.


Buy the album here: https://ffm.to/degreedleftoversi
9 / 10
LARRY ROGERS

Larry Rogers, Ghost Cult Magazine, Degreed, Frontiers Music s.r.l., Daniel Johnsson, Bon Jovi, Hair Metal, Power Ballad, Headbangers Ball, MTV, Yugoboy Productions, Yugoboy's Stereo

Holler Brings New Classic Rock To Life

 ALBUM REVIEW: HOLLER - Next In Line - Scarlett Records

This is the second time I'm writing this review. The first one was a very long trip to the realization that even though I really like this album I have this little quibble that Terence Holler's vocals don't quite match the music. Kind of like a poster where cyan got printed half a millimeter off register. It's still enjoyable as hell, but there's just ~something~.
That said, let's get to the goodness Holler delivers with Next In Line (Scarlett Records). The single best feature for me is how much karaoke bait is in here. From "A Miracle" on, I wanna sing along with everything.
Sounding somewhere between Survivor, Journey, Def Leppard, and Boston, Holler brings eighties synth-rock to a new decade.
"Stormy"'s lyrics trend a bit complex, but "Chandelier" will lead to some questionable choices with "One Two Three Drink" repeated at least 6 times in rapid-shot-challenge-succession and "I wanna swing from a chandelier" daring frat bros to do some truly stupid stuff. The song ends very abruptly. Every time I think it cut off for a phone call.
"The Ocean," a slower-paced power ballad comparing a loved one to the ocean follows the rambling enjoyable "Don't Fool Me" (try not to look too hard at the lyrics). Great poetry this ain't, as "24Seven" and others demonstrate. It is great top-down scream-along tunage for all the genre-standard love song lyrics.
Denis Chimenti and Luca Fuligni's guitars do a spectacular job keeping this firmly rooted in hard rock territory. "Crystal Eyes" kicks up the pace with a riff that elevates the heart rate as Holler has "got to get away from your Crystal Eyes." Based on the pace, that's a pell mell all-out sprint.
As I wind up this second stab I finally figured out my disconnect. Holler's voice has a rasp, and this Yacht Rock tour de force calls for a smoother delivery. Probably a bit of distortion on the bass or guitar could have solved it.
I don't know. What I do know is Holler provides us with almost and hour of pure fun that probably kills live.
Holler don't break new ground, they're not trying to. They deliver music that surpasses anything Top 40 has spewed at us in thirty years and would fit anywhere on the radio dial from Classic Rock to the Soft Rock station in your office cube farm, to New Rock, and any place else you'll find Yes, Asia, Kansas, and all those other forty-plus-year old acts with the glossy-looking logos.
Y'know what? Don't pay attention to my personal quibbles. Get Next In Line and check it out for yourself. You won't have any complaints (your job is not critic; mine is.)


Stream/Buy the album here: https://scarletrecords.bandcamp.com/album/next-in-line

9 / 10
LARRY ROGERS

Larry Rogers, Ghost Cult Magazine, Holler, Scarlett Records, Terence Holler, Denis Chimenti, Luca Fuligni, Yes, Asia, Kansas, Survivor, Journey, Def Leppard, Classic Rock, Yacht Rock, Yugoboy Productions, Yugoboy's Stereo

DramaScram and Urakka - Bookends of a night of Metal, Montage 5/10

I may add more pix as I process, but I've got a Babayaga show to do next.

Hyena Howls Heavy Metal

 ALBUM REVIEW: HYENA - About Rock and Roll - Dying Victims Productions

With a name like Hyena, (with its not insignificant "y" and the easily render-able and readable logo), I brought some expectations to this review.  About Rock and Roll (Dying Victims Productions) exceeds all of them. Peru never sounded so good.
All ten tracks are high-energy traditional metal, with all the self-referential meta lyrics and guitar solos they can jam into thirty-eight minutes. Hyena travels no new ground here, but they absolutely stomp all over old school metal.
The opening grooves of "Nightriders" deliver a solid preview of the rest of this monument to metal.  "About Rock and Roll" brings the first of several of those meta self-referential tunes.  I'm not sure what it is about metal that makes every band create tracks selling the audience on the awesomeness, brutality, vigor, or party time of whatever metal they're pushing. I mean, it's been going on since Bill Haley and His Comets exhorted is to "Rock Around the Clock" but I have yet to hear a Top 40 act extolling the virtues of autotune and their reliance on samples. So, besides "ARR," Hyena pummels us with "Ready to Explode," and "Metal Machine."
The standard mix of horror, dark mysticism, and occult themes provide the other primary lyrical content - "Hail the Fire," "Epitome of Evil," and "Echoes of the Underworld" deliver with the twin axe attack of most NWOBHM acts.
This time machine of delicious riffage fits in my collection in the Quiet Riot, WASP, and Raven. Despite the glaring influences of Iron Maiden, and Randy Rhodes, at the end of the day, I still land primarily on WASP as the overall "sounds like."
Except for the fact that everywhere is now connected with everywhere, and any element of culture can show up anywhere, you'd want to blame their Andean origins for the old-school sound. I've been fortunate enough to get a bunch of non-American metal lately, and I'm jazzed as hell that the international scene is robustly populated with creative takes on existing styles.
If your Classic Rock station plays Ozzy Osbourne, Motley Crue, Quiet Riot, and Judas Priest you're gonna want this album. Like, now.


Buy the album here: Bandcamp
10 / 10
LARRY ROGERS

Larry Rogers, Ghost Cult Magazine, Hyena, Dying Victims Records, Quiet Riot, WASP, Raven, Bill Haley and His Comets, Iron Maiden, Randy Rhodes, Ozzy Osbourne, Motley Crue, Judas Priest, Peru, Classic Rock, NWOBHM, Yugoboy Productions, Yugoboy's Stereo

Dysplacer, with Tykin, Divinex, and Morionder pix

 The show was a rager.  Loads of fun, and ridiculously talented dudes making loud enjoyable noises.  At every show, there seem to be between 3 and 6 photographers all trying to get the crispest, most reality-reproduction quality shots.  I've done those.  I've got thousands and thousands of those.  Unless someone's paying me, I'm done with those.

I will try to add to this as I process more from the show.  It was Dysplacer's show, so I prioritized them for the first round.

Constructive critiques welcomed.  High praise welcomed.  Simplistic declarations of dislike not welcome.

 

NEW!

 

Brand-New Classic Metal - Tumble Reminds Me Of Everything

 ALBUM REVIEW: Tumble - Lost in Light - Echodelick Records

You know the kind of person you meet who reminds you of other people, and they tell you they "get that a lot"?  Tumble's Lost in Light (Echodelick Records) is their own band and sound, but they inspired a co-worker to add to my Pentagram, and Black Sabbath observations Yes, and Brand X (which is apparently Phil Collins' first band) among a couple others.  They're the classic metal version of "yeah, I get that a lot."
Toronto trio LIam Deak, Tarun Dawar, and Adam Guerra mix Doom, Stoner, Sludge, and Psychedelic Rock/Metal into a tasty stew all their own. With only twenty minutes and five songs, this EP delivers a very tight blizzard of classic sounds.
"Laid by Fear," is a journey, with an uplifting Doom-y opening (don't ask, just get it and listen,) then, almost three-and-a-half minutes in, a delicious guitar solo is followed by a tasty drum solo, then more guitars before emerging from doom into as anthemic as sludge gets.
"The Less I know" follows with a definite Sabbath vibe, lots of familiar riffs and beats with the growly vocals described above. If you ever need a definition of "fundamental text" Black Sabbath is even more foundational than Led Zeppelin, and at under three minutes, this is comfort food for the classic metal fan, and a perfect example.
The third track, "Dead By Rumor" continues the familiar classic metal groove. It doesn't remind me of a classic rock hit so much as one of those second-tier tracks "real fans" prefer over the mainstream hits. Typically you'll find it as one of the deeper cuts on a "Greatest Hits" compilation.
"Sullen Slaves" brings Yes and other Acid Rock heroes to the party, with cleaner bass and guitars, and smoother vocals.  I'm only now sensing a pattern as I'm writing this.  It's a glorious pastiche, but more like old paper dolls, with a foundation you can mix and match with.  It works, and works well.
You read this far, so you know there's a fifth track. "Wings of Gold" is not much different than the first four, a brand-new classic psychedelic rock anthem sounding much like something you loved thirty years ago, and still twist the knob up when it comes on the radio.


Buy the album here: https://www.tumbleband.com/
and here: https://tumbletheband.bandcamp.com/
(FWIW, I'll never share the Spotify page.  They do not pay the artists well at all.)
10 / 10
LARRY ROGERS

Larry Rogers, Yugoboy's Stereo, Yugoboy Preoductions, Tumble, Classic Rock, Stoner Metal, Doom Metal, Acid Rock Black Sabbath, Pentagram, Yes, Phil Collins, Brand X, Led Zeppelin, Ozzy, Echodelick Records,

Brainstorming a Power Metal Masterwork - Brainstorm - Plague of Rats

ALBUM REVIEW: Brainstorm - A Plague of Rats - Reigning Phoenix Music

If you remember a time when a senile president worked with both sides of the aisle and held the respect of many across the political spectrum, you remember a time when metal was big and operatic.  A time when Power Metal ruled the land, hair was huge, shoulders had pads, and autotune was a terrible idea not yet inflicted on the industry.  Brainstorm's Plague of Rats (Reigning Phoenix Music) brings all that back with huge everything - huge guitars, huge vocals, huge themes, huge enjoyment.
Yeah, I enjoyed this.  A lot.
The opening track (creatively named "Intro") spends a full minute sixteen setting the table, getting us ready for the glory that is to come. "Beyond Enemy Lines" brings both guitarists, a driving drumbeat, and Andy B. Franck's ridiculously catchy vocals, reminiscent of, be definitively not Bruce Dickinson.  I could compare it to Saxon or Manowar or even the better Spinal Tap tunes, but none of that could adequately describe the perfect harmony between guitars and vocals.  As much as I love Iron Maiden and could never speak an ill word about them, but on rare occasions, Dickinson's opera training made him seem slightly separate from the sound.  Franck's vocals are slightly earthier, and again, perfectly tuned to the music.
"Garuda (Eater of Snakes)" follows, a slower, but definitively epic song more Metal Church, than Maiden. "False Memories" adds some Thrash elements to the Power foundation.  Not a lot, but enough to maintain Brainstorm's claim to having a unique place in the Power Metal sub-genre. I mean, hell, "Your Soul That Lingers In Me" has huge Kansas feels - they're great in their own right.
Metalcore fans should at the very least pick up "From Hell."  The punch and drive combined with growls and power vocals make for a terrific four-plus-minute face melt. The fact that Brainstorm is from Switzerland likely helps in maintaining their sound in the face of America's current infatuation with -core.
"The Dark of Night" keeps the party going, with a cute little denouement of near-acoustic guitar.  Lyrically, they don't really stray from standard metal tropes, including elements of epic mythos, horror, and violence. Given my deep and abiding love for the genre, I don't really care, but this isn't the album if you're looking for deep introspective and personal lyrics.
Brainstorm's a great name, for as much as there's a core power formula, they've incorporated a fitting melange of elements and styles befitting the results of a open-minded likely weed-fueled brainstorm session.




Buy the album here:  https://shopus.reigningphoenixmusic.com/collections/brainstorm
10 / 10

137 Brings Caveman Metal to the Bug Jar

So, there's a framing narrative for the rest of this review - I had a review of the album all written up, but it didn't feel like I captured what I wanted.  The show was only a week or so after, so the following is my effort to combine the two into a single, coherent whole. For song order, I prioritized the set list because some of the tunes came from their EPs.  Lemme know how I did.

I know this band from a charity concert a couple years ago.  I've seen them on a couple bills for shows I couldn't attend, but I know they're a hard-working local band from central and western New York.  So, when my social media suddenly and barely contained Keith Baughman's pride (his initial announcement of the album came in a liner-notes-length post on FB) about their first album coming out and announcing a release show that didn't conflict, I was ready.  
If you've never been to the Bug Jar on Monroe Avenue in Rochester, NY it's an experience. They go for a CBGB vibe, combined with nostalgia porn. Perfect gritty venue for a pretty gritty band.

137's utterly raging new album "Prey For Your Deception" drops on streaming near you.
So, to celebrate the release of PFYD they played the Bug Jar January 11.
137 brand themselves "Caveman Metal" - a mixture of sludge, doom, and almost death-metal vocals.  Pretty much.  My first comparative thought was another local act - Babayaga. They're not clones, but could definitely share a stage and fans.  Their website (137metal.com) proudly proclaims "Since Fucking 1996" which explains the three preceding EPs and other recordings.  "Prey To Your Deception" is 14 tracks of bass-heavy, distortion-riddled, barely coherent growly vocals and discernible roots from the Black Sabbath/Pentagram side while keeping it modern with those gravel-gargling vocals.


Set List
>>This is a Fist
This is the fourth song on the album, but the first of the show.  My review prediction came true:
"This is a Fist" starts with a less-distorted guitar attack joined shortly by all the aggressive elements Keith Baughman and friends bring to every aural assault.  This tune lets Pierson and Holdsworth get more distinct and crank out solos.  That tune's gonna be fun to see live.
It was
>>Savior
More rhythm-heavy distortion-fuzzy guitars. Nice reverb guitar solo. Worthy successor tune to keep growing the crowd in from the bar.  The righteous monsters pummeling the crowd's ears kept up the abuse for us masochists.

>>Parting Sabbath
This was where Keith really got to growling out lyrics to go with the Caveman rock. Continuing the rhythm assault, but with a couple guitar solos, proving they don't have to be finger-shredding fast to be good. Couple nice time changes.
The ZZ Top-like commitment to a sound really underlies the whole of the set. Each song is strong, unique, and enjoyable, but within a self-imposed range allowing the nuances to really gleam.

>>Slug
The Pentagram-meets-metalcore caveman metal sound works for these guys and they go for it. Interesting that they shared a single with Paro, the opening act. Paro uses far less distortion and crunchy rhythm. By now, if you haven't trashed your hearing, this tune'll finish the job.

>>Born Again
Ooh. A bass solo! Somehow, despite being the same groove, this one's more aggressive, almost soundtrack to a foot pursuit. These guys are real workmen on their instruments. Very little flash (except the Gene Simmons Axe bass guitar) and righteously solid.
The cleaner guitar solo out of nowhere was a nice switch-up. Admittedly the Bug Jar stage will never be described as capacious, but much like Paro, the music matters more than rock star energy.

>>Wrecking Ball
Continuing the standard of the rest, but giving the  drums a bit of solo work to do. The relationship between Paro and 137 came out to play as Paro's drummer added a ridiculous amount of audience energy to the stage as the set was ending. It's always obvious when the band is having that slightly goofy collaborative fun, and this set ended with that.

Interesting the set ended with the track that opens "PTYD". My initial response to the album opener was:  Distortion-laden guitars from Bill Holdsworth and Jpel Pierson open "Wrecking Ball", followed by opening growls from bassist Keith Baughman.  Jason Brickey's drums drive everything, including the bass solo smack in the middle of "Wrecking Ball".  If you're in at this point, the other 13 tracks won't disappoint. (Remember this is the opening tune.)

If you're with me thus far and see my byline elsewhere, know that a lot of my references are going to be for music from western NY and acts that have come through.  I already referenced Babayaga, but some of the instrumental parts of some of the tracks, like "Force Controlled Culture" bear a strong resemblance to Glass Skeleton Death March.  Otherwise, "Caveman Metal" is what the label says:  distortion, sludge, cymbals, and vocals so rough you need a 4x4.
I once had a mathematics professor tell us on day 1 "I know my accent can be tough, but stick with me and in a couple weeks you'll be fine with it."  He was right.  I bring this up because here in the third track, "In Vain Pt. 1 - Midnight" is when you start beginning to discern more of the lyrics Baughman is just gnashing out.  There's a nice break for a simple guitar solo about 80% in. "Slug" follows with all the subtlety of artillery; a powerful assault that would look like an angry wendigo if it were a person.
I've already addressed the fourth song above, but the fifth tune, "What Doesn't Kill You" has a driving bass/drum bit mid-song that sounds friggin' familiar and I can't remember why.  Then the pace slows a bit.  Not necessarily a single, but a good tune where it falls in the track list.  "Born Again" opens about as Black Sabbath-y as they can get away with.  The pace is low, slow, and powerful.  I'm a huge fan of guitar solos, and this tune features a nice one near the end.  Slow, not flashy, but very welcome.
"In Vain Pt. 2 " opens with the first sample - a heart machine beeps and a pulse give way quickly to more conventional 137 fare - until two more beeps mid-tune indicate a few creative beat changes and false stops.  Don't get me wrong about the lyrics.  It's not like they ever get overly discernible, but some of that is 40+ years of musically self-inflicted hearing loss as well.  The rest of the album develops fun, different forms of the "Caveman Metal" style.

I can't really give a number, but the album was as fun as the show, and boy did they crank.