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Tuesday, October 9, 2012

Suppurating The Studio III: This time - it's personal.

Greetings from the Grand Canyon State!  We are currently sequestered in our luxurious digs (okay, where we're staying still involves a fold-out couch, but it's much better than the Super 8 we stayed at recording All Guts...) at the Extended Stay America in Phoenix. It's officially the end of day seven of tracking our new album and things have been going swimmingly.

We arrived in Phoenix late Monday October 2nd, loaded in our gear and crashed out at Motel 6 for the evening. Tuesday we began in earnest, dialing in rhythm guitar tones. Since (in contrast to our situation when we recorded the last album) we actually own a decent amount of guitar gear this time around, I was stoked to actually use our road gear in the studio. It's nice to know that what's being recorded is a representation of the actual tone we have onstage. Ryan Butler, who is once more our intrepid and tireless engineer at Arcane Digital Recording, has a stockpile of killer amps that we employed last time alongside Wes' JCM 800 but this time, we built the tone around my 6505+, bolstered by my Maxon overdrive pedal, the same setup I use live. We also were working wth Bud's Bogner Uberschall, but ultimately ended up using Ryan's which was a little older model with newer tubes (Butler's Ubershcall helped us get the high / mid definition on All Guts as well). We ended up reversing the conventional wisdom about both amps' tones, using the 6505+ and my modified Marshall cabinet (the mod was detailed on this very blog last year) for the darker guitar tone, and the Ubershcall and a Mesa Boogie cabinet for the brighter tone. So far it's already sounding crushing. Ever since Anatomy Is Destiny, we've used four rhythm guitar tracks on all our albums. This time around, I ended up coming up with all the riffs and basic song structures (due to the departure of Wes Caley) so it fell to me to track all the rhythms on the album. 

Mike enjoying the sub-infernal temperatures of the Phoenix evening as Rob and I hack our way through the tracks.
Rhythm guitar and drums are by far the most time-consuming elements of our albums to record, because they are pretty much always going, all the time, throughout every song. We have always been a very riff-oriented band, so without good-sounding and well-tracked rhythm guitars, there isn't much else for our records to stand on. Needless to say, when I sat down to start tracking, the pressure was on. This time was definitely more difficult than my rhythm parts for All Guts... Not only did everything fall to me, but our very limited rehearsal time meant that I just hadn't had the opportunity to play these songs very often, let alone write / arrange / memorize harmonies and such. I finally wrapped everything up early Sunday afternoon - quadruple tracking every song - an intro, an outro, and thirteen new songs in just over five days. My brain was seriously fried trying to keep track of all the new riffs, the new harmonies and various bits from all the different tunes. There were parts that got changed / written / re-written on the spot in the studio. There was stuff I had totally planned out that "theoretically" made sense but didn't work at all when applied and then had to be re-tooled on the spot, which is really cool and fun, but also a bit nerveracking. Luckily, we're all very laid-back and are so used to working with each other at this point that the inevitable speed bumps in the road of progress are always ironed out quickly. In the end, I'm really stoked with how it's sounding. But it felt like a LOT of work. With brief respites for food and helping Ryan turn all of our song titles into gay jokes (it's actually a lot easier than you'd think), I was probably playing guitar about eight hours a day. I got my first ever hand cramp in my left hand, which is just now subsiding as I'm tracking leads.
Now that I'm done tracking rhythm guitars, I can get down to what's really important. Reading Butler's comics. 
The live room at Arcane. From L to R: Ryan's amp arsenal, our lead setup (EVH for my leads, Uberschall for Bud's), our live cabinets, my pedal board case, effects pedal boxes, and guitar cases. 
I've been convalescing the last couple of days, thumbing through Butler's extensive comic collection, getting some rest and working here and there to get Rob up to speed on any bass parts he might have any confusion on. Since we wrote the intro and one song in the studio in Corona, CA while tracking drums, as well as two songs in the jam room during our marathon ten-day rehearsal period before recording, this material is really new to all of us. The cool thing about the newness of everything is that the takes we're doing are really fresh and invigorated. They have a spontaneous, open vibe to them, which is really exciting to me. I have always loved to work off-the-cuff and just allow cool shit to happen in the studio. For the first time, we have enough time to record and enough material to allow us to do that to a greater extent than ever before. All the shows we've played together have made us a very tight unit and we all trust each other to come up with awesome shit on the fly and be on the same page and it's working out great. 

The big board sees all. The big board knows all. When everything is crossed out, we have finally won our freedom from the big board.
Our guitarist Bud, was the epitome of grace under pressure and spontaneous genius when he came in to track leads Monday. Having just heard the songs for the first time on tour, and then only as midi versions (as I wrote the songs, I'd tab them out in Guitar Pro 6 just so I wouldn't forget the riffs, I then exported them as midi files to show the other guys. Yes, they sound hilarious, and no, I will not post them). He came in and nailed many of his solos on the first take. Bud is sort of like the ringer on the softball team for us. From arranging Bach pieces for guitar, to chicken-picking and pedal steel guitar with his other gig with the Charlotte, NC-based Wiggle Wagons, Bud is an unsung guitar hero. Personally, I'm hoping this record will change that.  Bud quickly melted our faces with his fretboard gymnastics, which made me a little intimidated to get started on my solos (in between Rob's bass tracking). But, any trepidation I may be experienced was overshadowed by a healthy margin by how excited I am about this record.
Bud ripping corpses on new track "Sickened" - his first take.

Day seven saw Rob continue to punish his tremor bass and yours truly lay down some leads of my own. Before Rob started playing in Exhumed, he was playing guitar in Gravehill (if you haven't checked out the record that he and I recorded with the band, When All Roads Lead To Hell, you probably should - it's patch-jacket friendly old school black-thrashing Death Metal) and since picking up the bass, he's really started to become an actual bass player, which has been cool to watch develop. He started playing with his fingers, and has been actually following kick drum patterns and playing cool root progressions, not just mirroring riffs and shit. You know, bass player stuff. It's going to add an element to the band and this record that has been previously absent. At any rate, we got a bunch more shit done today (as evidenced by more X's on the big board) and we will continue to plow ahead - vocals will start tomorrow. 

I'll keep you updated on our progress as tracking continues. I'm hoping we'll have all the solos and most of the vocals finished before we hop on a plane this Saturday afternoon to head to Japan for three days supporting our buddies in Cannibal Corpse (who have been kind enough to let us ride on their coattails yet again). I'm sure there will be loads of retardation and accompanying photo documentation to fill you all in about when we get back. Until next time, keep on rotting in the free world, dudes and dudettes. 

Cheers, 
Harvey and the lads

Monday, October 1, 2012

Suppurating The Studio Part II: Decrepit Boogaloo

As the week starts rolling, I'm stoked to report that our resident skin-beater, the affable Mike Hamilton has finished all the drum tracks for the next Exhumed record. Mike did a hellva job tackling loads of blast beats, d-beats, thrash beats, punishing double bass, and all with a smile. 
Mike getting set up on day one.
This was the first time an Exhumed album has been made recording to a click track - which is really standard procedure for most bands - metal or otherwise. The beauty of the click is that it not only keeps us a bit more on time (as much charm as records like "In The Sign Of Evil" and "Reek Of Putrefaction" have, we never wanted to re-create that level of musical ineptitude - even when we were doing it!), but it allows the drummer to punch in much more easily. For those of you unfamiliar with the concept of "punching in" during a recording, it's the ability to begin recording in the middle of a take - continuing to play with a partially satisfactory recorded performance and simply tacking on an additional sections as you go. Punching in has been the norm for guitars even back when we used to record at a 16-track studio with a 2" tape machine back in the early '90s, but it was more difficult for drums (on our budgets at least) - and if you don't have the click guiding your tempos, it can be a nightmare trying to get a song to remain even close to consistent speed-wise. 

Rob hard at work in the studio.
The biggest advantage of all of this for this album is... due to our minimal rehearsal time (two weeks to learn ten songs) we were writing all the clever bits as we were recording. Mike was filling in the skeleton of the drum parts on the fly - constantly coming up with new and different ideas for fills, accents, and beat changes as we went. That added a different level of creativity that can be mentally exhausting in the studio. The studio situation can be stressful even for the most prepared musician (time / budget constraints, recording nerves, equipment problems, weird headphone mixes, hearing your parts being put under a microscope etc. are all very common factors that can stress out just about anyone trying to give their best performance). Add that to the physically demanding level of drumming that playing this type of music entails, and you can see that Mike had a herculean task in front of him. He really rose to the occasion, beating the crap out of his kit, channeling his inner Dave Lombardo for awesome drum fills, and taking the drum parts way further than what I had imagined. The thing that's so appealing about working this way to me is that you are really getting a representation of that particular moment - something new and fresh plucked out of thin air and committed to tape (okay, hard drive) while it's new and fresh to the person playing it. which is just a cool, honest thing to represent as far as I'm concerned. 

We were knocking out two to three full songs a day, plus we tracked an intro that we put together in the studio, an outro I had been toying with, and we came up with a quick grind tune (about :50 total length) on the spot that got recorded as well. We'll see what ends up making the cut for the actual record, but it was great to have the time to develop a killer vibe in the studio that allows for that kind of spontaneous shit to happen. 
It just wouldn't be the internet without more pictures of cats. This one was guarding our guitar cabinets.
It was also killer to break up the process with a Friday night birthday party for Rob and Mike at Rob's house with all the Gravehill folks, several dozen beers, some Gentleman Jack and killer bbq. Saturday night was great as well, as  Mike and I celebrated the completion of drum tracking (that day we tracked the final album song, wrote and tracked the intro, wrote and tracked the aforementioned grind number, and got the outro done as well- fucking productive!) by attending Leon del Muerte's birthday party across town in LA for loads more beer and bbq with our friends from Murder Construct, Nausea, Dreaming Dead, DIS, Eat The Living, Panties, and tons of other folks. It's kind of nuts, Rob, Mike and I all have birthdays within three weeks of each other (not to mention Exhumed alumnus Leon's in Rocktober and Ross' in September - but please DO NOT bring up astrology around me - blech!!). So we have lots of excuses to get wasted this time of year. 

Sunday was spent being hung over while our ace engineer, John Haddad (who in a somewhat ironic turn of events is about to start recording the drums for the new Intronaut record next week) was going through and editing all the drum tracks - double checking our work, cleaning up little weird studio stuff, and making sure all our i's were dotted and t's were crossed before we take the whole thing across the state line into Arizona tomorrow to start tracking all the other elements of the album. To give you an idea how excited I am about this, every day this week, I have been waking up from dreaming about guitar solos, riffs, and all things recording. I'm up at eight in the morning all excited and then sit and think about riffs for a half hour before I can fall back asleep until eleven or noon and we get started. It's like I'm seven years old on Christmas morning or something, haha! Although no one has brought me a Millennium Falcon yet (hint, hint!). We're grabbing a trailer tomorrow morning to take all our gear eastward and start looking for a suitably ruling guitar tone.  I'll keep you all posted!

Cheers,
Harvey and the boyzzzz....

Wednesday, September 26, 2012

Suppurating the studio part 1

So, I'm gonna wait a bit to finish recapping our (seemingly) endless supply of marginally humorous road stories (that usually begin with, "this one time in _____, I was soooo wasted...") and talk a bit about what we're doing right this second. We are once again in the studio at work on a new record. We've returned to beautiful (and by beautiful, I mean "beautiful" Corona, California) to record drum tracks at Trench studios with engineer John Haddad for album number five. Right now it's the morning of day three, and things are well under way. 

The question I get most often right now is "When the fuck did you guys have time to write a new album? You've been on tour non-stop since February?!?" Well, unlike All Guts, where we were able to write at our leisure and swap pre-production files, this album has been put together in fits and starts. Due to being on the road so much, I have been writing in between tours - a little bit here, a little bit there, and as the deadline neared, I have been clearing out my "riff warehouse" with feverish speed. I always have songs that never get finished, or get finished but only have one or two cool parts, or a riff with nothing to go with it that has been bugging me for years. Luckily, our former guitarist Wes and I were on an intense writing jag when we did All Guts... and I had about six songs written that didn't make the cut. That said, they didn't make the cut for a reason - we recorded the strongest songs for the record. However... there are always a couple of good ideas in those songs that just need to be gleaned, extracted, strengthened and molded into something else. They have been an excellent springboard for new stuff. So between coming up with completely new songs, getting ideas from the best riffs and unused bits I had languishing around, and writing in the jam room, we have about 40-42 minutes worth of brand new material. Again, we're shooting for an album length of about 35 minutes (I feel that with this style of music anything longer starts to drag and sap the listener's endurance / attention span), so we have more than enough new stuff. 

What we didn't have enough of however, was rehearsal time. Between our liver-destroying and brain-numbing road schedule, disparate zip codes, line-up shifts, occasional bouts of employment, and any facsimile of personal lives, we have had little to no prep time as a band to work out these new songs. Every time we would get in the jam room, we were getting a set list ready for a tour, and if we did work on a new idea, it was neglected for a month or more and never really picked up again. 

So, we spent a little over two weeks after returning from Summer Slaughter in the jam room, pounding away at the new material and getting the basic framework of the songs down. The details and fancy bits we're honing as we go in the studio. It's been an exciting way to work, and each take really captures the vibe of that particular moment, which I really dig. Mike's drum set is sounding fucking huge already, and I'm itching to get to Chandler, AZ to start laying down guitars and vocals. 

Day one was spent tuning the drum kit and getting some tones. The vibe of this record is a little darker and more open, so we went for a little lower tones, added a bigger tom, and got a bit bigger and boomier drum sound from the get-go. That took most of the day (which is pretty normal, actually pretty quick compared to most recordings), but we opted to track a song in the remaining few hours. Since our prep time was so limited, we compensated by booking more studio time for everything this time around and we were shooting for getting tones the entire first day and nailing two songs each of the following days. So we were psyched to get a little ahead of the game - the extra cushion always comes in handy. However, it was a bit late to drive out to LA for the Murder Construct CD release show we were considering attending that night, which was disappointing. I would have loved to have time to hang with friends and enjoy some top-notch grind. If you haven't checked out their album Results, do yourself a favor. It features a bunch of my old buddies kicking some serious ass. But I digress... Instead we grabbed a couple of bottles of wine (yes, go ahead and snigger) and retired for the evening. 

Day two, Rob and I headed to the Japanese consulate in Los Angeles (about 50 miles from Corona - which means about two hours away in LA traffic) to file for our visas for the Japanese shows we have coming up in October and get one of my guitars repaired. Meanwhile in Corona, Mike got to work on a song recording along with the midi pre-production tracks I had whipped up. By the time we made it back to the studio, several frustrating hours had elapsed sitting in traffic and we were a bit behind schedule. I settled in, got hastily warmed up, and Mike and finished the track. After a short break for a late lunch / early dinner, we decided to try and nail another one. Then one of those killer moments happened when things just started working. The vibe was awesome and great ideas kept coming out at breakneck speed. Even our engineer, John (who used to play drums in Phobia back in the day) suggested a beat that no one had thought of that worked out perfectly. Before we knew it, the song was in the can, and we were all pumped on our day's work left fully stoked! Which brings us to the present. Which means I need to stop typing, and get my ass over to the studio to get this record done.

Cheers!
- Harvey and the lads

Thursday, September 20, 2012

Finally, an update. What has it been? Like three months? Jeez...

Wow, I really have not updated this thing in a long time. I can only say to myself, in the immortal words of Tim and / or Eric: "Ya blew it". So... what better way to get things going again then with some news and crap. And then onto the tour diary entries that anyone familiar with this blog probably knows and tolerates. 

So... First off, in the "news" category, as anyone who came out to the Summer Slaughter shows undoubtedly noticed, we have a new guitar player whose name may be familiar to you: Bud Burke. Bud joined the band on bass way back in '99 for the Contamination tour we did with Soilent Green, Today Is The Day, Morgion, and Nasum (who were on the first ten shows with us).  Bud had always been a guitar player, and we first met him in '94 or so when he was in a local San Jose Death Metal band called Pale Existence (which also featured Lorin Ashton, better known today as international DJ extraordinaire Bassnectar - true story). At some point someone had borrowed his PA and he thought we might have it and he called us up right after we had parted ways with the inimitable Ross Sewage. Instead of finding his PA, he ended up touring with us on and off for the next four years. After our original skinbeater, Col Jones departed the band in '03, Bud also opted to split - probably because he is a monster shredder and would rather be known for that than for playing distorted bass and throwing up onstage. Anyway, when the decision was made to split with Wes, he was the first and only person we thought of for the job. We are super psyched to have him back in the band and had a killer time partying with him on the Summer Slaughter tour.
Bud Burke: He's Partying.

In other exciting (at least to us) news... Mike (Hamilton, drums), Rob (Babcock, bass / vox) and I have been rehearsing nonstop in beautiful San Luis Obispo California for the last couple of weeks in preparation for our next LP since we got back from tour. We enter the studio September 24th and should be done with the whole shebang by October 21st. We have 12 new songs worked up and will be shooting for a May 2013 release. Even though our rehearsal time has been extremely limited due to our road schedule, we managed to come up with couple of new ones in the jam room in the past week and have been having a blast working through all this material (when we haven't been rebuilding my dad's backyard). Our plan for this one is pretty similar to what we did on "All Guts...". We'll be tracking the drums in Corona with John Haddad at Trench Studios and then heading to Chandler Arizona to do everything else with Ryan Butler at Arcane Digital. After the tracking is done we'll be sending the whole ball of wax off to get mixed while we're on the road with Napalm Death and Municipal Waste throughout late October and November. Oh yeah, and while we're recording, we'll be taking a quick break to head over to Japan for three shows with Cannibal Corpse. So Fall is gonna be fucking nuts. The plan for now is to take some time off until the new album hits after this last 2012 tour, so if you live in the US or Canada and somehow you still haven't seen us (we've done like 190 shows since last April- c'mon!) this will be an excellent opportunity.

This tour is going to fucking rule your face off. 
So... that's what's new with us. Now, I'm going to launch into one of my tedious reminiscences about our tours. So if that sounds boring, you can go look at internet porn or cat videos or whatever else you do at work. But, if you like stories about idiots being idiots, then by all means, continue reading. In the interest of "staying current" I'm gonna launch into the Summer Slaughter Tour, which in all honesty was a lot less fun than our tours supporting Cannibal Corpse and Black Dahlia Murder, but it was the most recent, the freshest in my mind and the pictures were the first ones in my phone.

The time between the conclusion of the Black Dahlia Murder tour and the Summer Slaughter was really chaotic. I ended up stepping in at the last possible moment to fill in for the Death To All tour, which was exhilarating, humbling, stressful, and nerve-racking all at once. When I get another second, I'll post some pics and tell that tale in its entirety. Basically as soon as I got home from DTA we made the call to get a new guitarist, which was a rough move to make, as Wes is a killer guitar player and  a great songwriter, but it was definitely the right move for us going forward. Then we were forced to cancel our show at Obscene Extreme (which we were going to do as three-piece - '97 style!) due to the death in one of the guy's immediate family, so the whole week seemed to be going to shit. Three days before the start of the tour, Bud flew out to California from North Carolina and rode north with Rob from sunny Orange County to sleepy San Luis Obispo for a whopping two days of rehearsal. Luckily, a lot of the older material was still somewhere in Bud's beer-soaked memory banks and things went really well. We did totally revamp the set list we had planned and ended up playing a lot more old songs just due to lack of preparation time. At any rate, we left for Los Angeles on Thursday July 19, as ready as we would ever be for five weeks of sun, fun, and corporate rock.

Summer Slaughter - 1st leg - July 20-31
To begin with, I'm gonna say that tours like Summer Slaughter just aren't really my thing. As a dude rapidly closing in on 37 years old who's been listening to Metal in some form or other since the end of 1986, the idea of a ten-to-twelve band bill that starts at one in the afternoon is about as attractive as Roseanne Barr's taint. That said, our record label and booking agent, both of whom I really do trust, insisted that we take this tour and that it would be an excellent way to reach new fans. I believe they were correct in that assertion, so please take any subsequent bellyaching on my part (there will be quite a bit) with a grain or six of salt and remember that they are simply the grousings of aging, road-weary crank. 

My main concern was that I really didn't want to play first and have to go on at 4:00 in the afternoon every day. Well, we were second on the tour package, and played around 4:15 everyday. Obviously, I really need to aim higher. 

At any rate, most shows featured a local and regional opener, because hey - on a ten band package tour, introducing as many variables per day will definitely make things run smoother. Yes, italics represent sarcasm. However, Charlie and Redbeard, the production and stage manager really did a bang-up job keeping things organized and on-time. Of course with eleven or twelve bands every day, there is not a lot space, backstage room, catering, beer, guest list spots for friends / family, room to set up merchandise etc. etc. to go around. This would get interesting many times on tour. 

The first show being in LA was very convenient for us logistically, as it's a three hour drive from where we live. Our agent extraordinaire, Dan Rozenblum was on hand for the tour kickoff, which is always a sign of an excellent time. We were also very stoked that our old pals in Goatwhore were on the tour with us, so that there would always be someone around that wanted to listen to Venom or Judas Priest at any given moment. The LA show was weird, in that it was packed, but not with people we knew or normally saw at our shows. That would be a continuing theme throughout the tour. We hung out with the Abysmal Dawn dudes a bit, met up with Kevin Stewart-Panko, our tour manager / merch Guy / Babysitter-in-Chief / internationally renowned journalist, saw a bunch of friends, and ended up spending a decent amount of money at the bar ($6 PBR, House Of Blues!?!? You guys are dicks.) after finding out that we were only receiving water on this tour. Ugh. That news went over like a Ratt shirt at an Exodus show in '85. Thankfully the next day's drive to San Diego was mercifully short and the tour was underway. 


Limb From Limb Live in LA

San Diego was fun. We started getting the hang of sneaking friends into the show (which can be tricky at some of these more "professional" type venues), and left after our set to drink beer and watch sports, which was a much better use of our time than hanging out at the venue and seeing the same bands we would have dozens more opportunities to see. Of course, San Diego has probably the best weather in the country, so it's always nice to be out there. And aside from their odious sports teams, it's a pretty great place. Vegas was next... One of my least favorite cities in the US, but we've never had a shitty show there. And I have to admit, the food at House Of Blues (the LA, Vegas, Dallas, Houston, Cleveland, and Chicago shows were all at House Of Blues) is pretty good, even if it is a soulless, contrived, fake, trite, corporate rock in the absolute worst sense of the term, touristy, and overpriced bullshit place to hang out. And they have air conditioning. Vegas was a lot of fun, and the audience was actually fucking great. 

After the show, we undertook the first of many all-day drinking tailgate parties with Goatwhore in the van area (which was mercifully covered, but still very, very hot). By the end of the night, we were all tanked. Right as things were winding down, Rob "Wild Card" Babcock somehow wandered off. This is never a good thing. By the time one AM rolled around we were the last vehicle in the parking lot. I was looking forward with rapt anticipation to arriving in Chandler Arizona at the home of the aforementioned Ryan Butler around six AM for a nice four or five hours of non-van sleep in air-conditioned comfort. Instead, I was looking for Rob. By five AM, I was furious and also a little bit worried. I felt like the father of teenage girl who hasn't come home hours after her curfew had passed. Or something similar but less weird-sounding. We called the local jail and drunk tank, who assured us that they hadn't arrested anyone we knew, which was mostly reassuring. By six AM, still sitting in the House Of Blues parking lot, we began considering the drive time to the Scottsdale show. In order to make our load-in time (noon - to give you an idea of our typical day, three or four PM is the average load-in time for a show - so noon feels really, really fucking early on tour. I'm not even usually awake at noon - yeah, I know, I'm a real winner) we would need to depart Las Vegas no later than eight AM or cancel the show. On a show with ten bands, moving spots or changing set times is simply not an option. By 7:30 AM, any worries I may have had were completely replaced with anger - keep in mind, we'd been outside all night in 90+ degree weather, waiting for nearly eight hours.  Any reasonable person would be a bit cranky at this point. At 7:40, Rob finally stumbles into view with the sentence, "I just woke up on the roof of one of these buildings... That was weird." At last the van starts moving, the AC comes on, almost everyone passes out, and we push off for AZ. 

I've always considered myself to be a warm-weather, outside-in-the-sun kind of guy, (I mean, I did live in Hawaii for almost two years) but after this tour I have serious doubts about that assumption. Being outside in Scottsdale in the summer is sort of like being on fire, but it doesn't look as cool. We did make it to the show more or less on time, everything was fine and we were already laughing about our night in Vegas. We hung out with Ryan and Matt from Landmine Marathon and Tim from Sorrower, and afterwards, I headed off to go drinking with an old buddy I hadn't seen in years. The day turned out to be awesome. By the time I got back into the area of the venue I still got to knock a couple back with the Goatwhore guys. The next day was a drive day... it's quite a ways between Phoenix and Dallas, let me tell you. Having just played El Paso twice on the Cannibal run, it didn't make sense to fill the off day with a show there, so we just trucked out through the desert. 


Bud and yours truly in Scottsdale. Photo by Aly Webstar.
Dr. Philthy presses the flesh in Arizona. Photo by Aly Webstar.
Trying to stop being morons long enough to get some new band photos after the Scottsdale show. Photo by Aly Webstar.
Dallas has never been a city I've been particularly fond of either for some reason. I like San Antonio and Houston, hell I even dig El Paso, but Dallas has never done much for me. The show we did at Trees back in '04 with Cannibal Corpse and Hypocrisy was fun there, though. At any rate, I honestly can't remember anything of note really happening in Dallas on this tour. I'm sure it was relatively cool and stuff, but I'm totally drawing a blank. San Antonio, however was a bit more memorable. The show itself was fucking excellent, and the audience was killer. Afterwards, it was soon time for another ridiculous all day / night parking lot rager, where we socialized a bit with some of the other bands that I wasn't all that familiar with and had a great time. We later found out that Rob (surprise!) got a little rambunctious with the Job For A Cowboy guys, so he bought them a bottle of Jameson in Mission TX the next day and any non-consensual roughhousing was forgiven. Mission was fun because we went to the grocery store (HEB) and filled up our coolers with snacks, gatorades, soda and of course, beer (duh). We also met Sally, sister to one of my oldest dearest friends Lily. She was beyond hospitable and helped us run a ton of errands (not as easy as it sounds on tour - especially when you have a trailer and you have to load in at noon every day) and of course eat amazing Mexican food. We left Mission replenished and headed for the cradle of Willie D, Scarface, and Bushwick, H-town. 

I finally ate at Jimmy John's for the first time in Houston after we loaded everything in. I had heard a lot about Jimmy John's before finally sampling their menu. A prime example: James Harvey from Goatwhore's rules are: don't talk shit about his girlfriend; don't talk shit about his motorcycle; and don't talk shit about Jimmy John's. Even without the threat of angering a 6'4" 250 pound man-mountain like James, I would say that the sandwich was pretty damn good. I wish we had Jimmy John's in Cali. But I also with that the entire country had taquerias, taco trucks, good Asian food, In-and-Out, Fatburger, Tommy Burger, and Nations like we do in California. But I digress. After the show (at yet another House Of Blues) and dinner, we headed to the bar down the street. It was actually a pretty fun and cool bar. Here are a couple of pics from the night:
Rob, Cowboy Space Ace, and Bud.
This chick was fucking weird.
At any rate, after some extremely intoxicated Geto Boys rap-alongs, we passed out as we headed into yet another drive day. This time, en route to Tampa. By this time, we had noticed something was going on with our AC. Thankfully, it was fully functioning, but the entire floor of the van was soggy. That was not too cool. Faced with an extremely long drive, we decided to figure it out in Tampa and charge through the deep south, wet feet notwithstanding. We did make a couple of noteworthy stops. Apparently our faithful drummer Mike Hamilton owned a non-camoflaged piece of clothing and wanted to rectify his oversight, so we stopped at the Bass Pro Shop / Outdoor world in Alabama. This place was fucking nuts. Bud headed to the nearby Hooters for a beer where we picked him up later. Yup, we were in the South.
This place is bigger than most Wal-Marts and also includes a diorama of stuffed animals (like taxidermy, not like cute and fluffy) in various salient poses on top of fake trees, fake mountains, the works. Lots of cool fucking guns though.
Hooters- Where attractive women with questionable self-esteem serve awful food to people of questionable intelligence.
We pressed on to the land of early nineties Death Metal, extreme humidity and my least favorite Pirate-related professional sports team: Tampa. The venue, The Ritz, was in Ybor City, the downtown area, so there would definitely be stuff to do after the show. We loaded in and took the van to Midas for $500 or so of repair work (always a great way to start the day), then Brian Hopp, our dauntless sound guy informed us that he had mono and was leaving the tour after that show. Hoo boy. What a day. I was dying from the humidity, not really getting enough sleep for the past week (the earlier load in times were seriously interrupting the part of the day where I usually sleep though my hangovers - and I am being 100% serious on that), and pissed about the van and losing our sound guy (although the tour stage manager Redbeard stepped up to the plate and did a killer job) so I retreated to the bar across the street, put on some go-to juke box selections (Blue Oyster Cult, Thin Lizzy, and Deep Purple) and had a couple cold beers. The day was starting to look up... Our van was ready, all we had to do was grab a cab across town and pick 'er up. And then... the police arrived and started emptying the venue due to some idiot writing a death threat to Job For A Cowboy. My formerly quiet Monday afternoon bar was packed with people blasting Death Metal on the jukebox and the street was cordoned off so the cab took 45 minutes to get there. So much for relaxation.

At least I used the time waiting for a cab wisely... Photo by Dr. Philthy.

This is what you do not want to see pulling up outside your show.
At any rate, like any person with poor judgment would do, upon returning to Ybor City with the van and finding out that the show would proceed as planned, I proceeded to ease my fatigue, frustration and general malaise by getting totally blitzed. I remember multiple bars, beers, gay people singing karaoke, scotch, shots, martinis, maybe a slice of pizza?  At any rate, I woke up at some point in a house I'd never seen before being told to get back in the van by Kevin. It was a confusing night, and I barely remember enough of it to even make a good story out of it. 

The next day in Ft. Lauderdale however, I remember with excruciating clarity. I woke up in the van at about 12:45, covered with sweat, wearing only my underwear, ready to throw up. And I did. Many times. By the time we went onstage at 4:00 or so, I was still throwing up. When we got offstage - wait for it... - I threw up. I had two interviews to do after the show, and in between them, I - stay with me now... - threw up again. Finally when everything was done, I - yes, after throwing up - laid back down in the sweltering van. I didn't load any gear in or out, I was just a complete loss for the whole day. This is why I can't get too mad when other band members tell me they woke up on a roof after being MIA for eight hours. At any rate, finally around eight at night, I made it over to hang with our friend chef Bill and his son John and his lovely lady Alyssa for some a-fucking-mazing barbecue, and a couple of drastically needed sodas. I was going to post a video from this show, by my vocals are honestly so terribly blown out that I will let you find stuff from this show yourself on youtube if you want to see / hear me at my worst. Although considering how I felt, I'm surprised they aren't worse. We left around 9pm that night in order to make sure we would get to Atlanta on time... I know it's not much of a cliffhanger ending (spoiler alert: We did indeed make the show and play) but it's a good point to leave off until the next installment, which with any semblance of work ethic should be up in a couple of days.

Cheers,
Harvey and the lads

Thursday, July 12, 2012

Grind Over Europe tour diarrhea, I mean diary

Tour diary 2012 Part I...

Exhumed has never been a band to shy away from playing live, and since we've been back in action last year, that has held more truly than ever. Since the release of “All Guts, No Glory” last summer, we've played 150 shows, not to mention 12 before the record came out. We've done 75 so far this year, starting with a one-off gig in Los Angeles for the Relapse / Scion showcase, and then embarking on European, UK, American, and Canadian tours straight after. Oh, and we actually ended up canceling 5 shows in Brazil due to problems getting our visas. So 2012 has been pretty damn busy.

Starting off with the Scion show in LA, Relapse stacked a very mixed bill, featuring their new signings Royal Thunder, a gloomy southern doom rock unit with a frontwoman with pipes of steel. Their EP was great, but unfortunately I was really busy catching up with friends and didn't really get to see much of their set. Revocation was next, a tech death / thrash band with chops to spare. They are brutal road-dogs and played a sphincter-tight set. Black Tusk was next, kind of a sludgy Southern-fried Stoner doom act. Their music is great, and they are seriously fun guys to party with. It was a bit of a weird crowd that day, as our fans and Revocation's had a lot of common ground, but Black Tusk and Royal Thunder were maybe not to the taste of a bunch of death / thrash / grind kids waiting to punch each other on a Saturday afternoon. By the time Black Tusk was wrapping up, kids started chanting “Exh-umed, Exh-umed, etc.” between their songs, which was rude, but definitely flattering. We are a band that never does one-off gigs, so I'm always a little nervous about playing cold- I like to rehearse for a week and then start playing a bunch of shows in a row. I never feel like we really hit our stride until about four shows in. We had a good friend of ours behind the sound board, Alejandro from Nausea, Dia De Los Muertos, etc. and also, not coincidentally our rep at Fernandes guitars (yes, that is a plug!), so the sound was killer onstage and the energy from the crowd was definitely there. Until security started clamping down, we had lots of stagedivers, which helps me have a good time for sure. It was weird playing at five in the afternoon or whatever time it was, but it was kind of nice to get the show done early. After defusing any post-show compliments with a myriad of reasons why I thought we sucked, I went back later and saw some of the show on youtube, and it was actually pretty good. At any rate, we headed back to our uncharacteristically swanky hotel down the street, the Grafton (thanks Scion!) and showered and changed before heading for the after party at a bar whose name completely escapes me at this point. It's always good to see our friends from Relapse, since we aren't often in Philly, and they're virtually never in California. The party continued until about 5am when I finally caved in and crept off to catch some z's and wait for the inevitable hangover to descend.
I Rot Within / Death Knell / Limb From Limb at the Roxy in LA 

We had already been denied visas by the Brazilian consulate at this point, who warned me that if I applied for the wrong visa again, I would be banned from Brazil for ten years. Needless to say our experience at the consulate was less than enjoyable. We used the unexpected week off to get a bunch of shit done, though – like buying a van, which was huge. So Mike (Hamilton, our peerless percussionist) and I were very busy while Rob (Babcock, bass and vocals) and Wes (Caley, guitar and vocals) presumably were drinking pina coladas and eating bon bons in the comfort of Southern California. At any rate, the time quickly came to hop on our flight to Spain to undertake the first proper leg of our 2012 tour cycle – a run of headlining dates with Rotten Sound and Magrudergrind appropriately titled “Grind Over Europe”.

In the 90s, there had been two “Grind Over Europe” tours, the first featuring our friends in Haemorrhage, Dead Infection, and CSSO, and the 2nd featuring Hemdale, German grinders Nyctophobic, and (surprise!) Exhumed! I had always thought those lineups were classic and last year hatched the idea to do something similar. We couldn't have asked for a more brutal, in-your-face package. Magrudergrind specialize in one-to-two-minute bash-a-thons of unbridled fury with a decidedly punk edge, our label-mates from Finland, Rotten Sound generate a Swedish Death-Metal infused racket that has earned them the reputation of being one of Europe's most intense Grind bands. Usually when we tour with Metal / Death Metal bands, we feel like the odd men out, being the only band with punk influences, but on this tour, I felt like the other bands pretty much made us sound like Dokken! Mind you, I do love Dokken, so that wasn't so terrible, but it was interesting being the “least punk” band on a tour for once! We were greeted at the airport by the same driver we had on the last European tour, a delightful Czech gentleman named Mikael Svindelka. He's a great driver, has killer taste in music, takes us sightseeing when possible, and puts up with our foolishness, farts, and slovenliness. He actually was recommended to us by Land Phil of Municipal Waste / Cannabis Corpse – thanks dude!

Anyhoo... Our first night in Barcelona was insane. I was beyond jet-lagged, had already lost my iPod on a connecting flight we barely made due to airline delays, and we of course got trashed the minute we hit the club. We arrived the same day as the first show, so there was no time to adjust to the time change, get acclimated or anything like that. We managed to make time for beer, though. The schedule was so tight because we originally were allowing time for the Brazilian dates (which you'll remember were canceled if you've been following along), but the result was that we arrived mere hours before our set. We were thrown straight to the wolves. The energy in the room was great though, and the first show went really well – much better than most of our European shows last year, which was a relief. The next day in Almeria, the madness continued with a trip to the local metal bar (yes, my American friends, those are a thing in Europe) after the show ending in more alcohol-fueled stupidity on our parts. Seville was more of the same.

Distorted and Twisted To Form in Barcelona
I think by the time we reached Portugal, I was finally starting to get adjusted to being on tour (though the time change still hadn't quite set in yet). I remember curtailing the intensity of the partying a bit in Lisbon, getting it back down to somewhat manageable levels. The sound guy in there told us his favorite band was W.A.S.P., so we treated him to a partial rendition of “Wild Child” during our soundcheck which usually either makes people want to hug us... or vomit. The venue was tiny and right on the water, and the promoter was one of the nicest guys you could ever meet. He insisted on having us try some local seafood (it was delicious) and the backstage was full of all kinds of local delicacies and crazy appetizers. The next day we played in Porto, another city right on the water (I guess all of Portugal is pretty close to the water if you get down to it) where Rob and I managed to get out and explore a bit and take some nice photographs of the local scenery. Either that night or the following one in Santander, we raged extra hard in the hotel room and Keijo from Rotten Sound ended up taping a hotel telephone to his head. Finns are dangerous with their gin and bubble water! 
Kristian from Rotten Sound knows how to party.

Rob and Keijo are still working on it, however...
For some reason, every time we've come to Europe since last year, we've only done one show in France. And it is invariably a good show. Last year our show in Strausbourg with Cephalic Carnage was the best show of the tour. This show, in Toulouse was also killer. It was at a youth center type place, but judging by the posters there, they have tons of hardcore shows there. The food was great (French food is delicious – best bread and wine ever!) and the show was too. The jet lag was still killing me, though. I was actually caught taking a nap in the balcony / backstage area during rotten sound's set. We ended up having two shows in Switzerland, which was weird. Swiss people are... how do I say this? Generally pretty reserved. The whole country is clean and beautiful, but very sterile. The audience the first night however, was the exception that proves the rule. The show was in a town called Sursee, and was noteworthy for a few reasons. Firstly, it was a good show in Switzerland, secondly we hung out with a bunch of American Air Force folks who were nice enough to bring us some Cool Ranch Doritos and Double Stuff Oreos, and thirdly, a very nice young lady asked us if we could help her propose to her beau during “The Matter Of Splatter”. I'm a sucker for a good ol' fashioned happy ending, so I brought the guy onstage and called him out on being with his girl for eight years and not proposing yet. Needless to say, they left the show engaged. We don't just melt faces, we melt hearts as well. We managed to do some sightseeing the next day in Martigny at a nearby medieval fortress which was cool, and our hotel was really swanky, so a good time was had by all, probably even the very polite and typically Swiss audience. From Switzerland, we headed South to Italy for a show in Milan. Last year, Rome had been one of the highlights of our tour, Milan was a different story. The show was in a weird club in the middle of an industrial area, and the vibe just wasn't all that happening that night. It was good to catch up with old friends from Brainwash and Cripple Bastards though.

After Italy, we were heading into the home stretch, Eastern Europe. There's something about Grindcore and Eastern Europe that just goes together like beer and pizza, peanut butter and chocolate, sex and violence, cocaine and... well, you get the picture. We hit Zagreb in Croatia first, and despite a considerable amount of difficulty finding the venue, not the least of which was due to Croatian customs officials, we finally arrived, to find a huge spread of delicious food and excellent beer, followed by a packed house of maniacs to play to. We hadn't played in Croatia for years and years, and it had obviously been way too long. Feeling good, we headed to play our first show in Hungary. Budapest was a truly gorgeous city, incredibly cheap, and full of extremely beautiful women. I would move there in a heartbeat. The show was excellent, actually sold-out even, and the energy in the room was awesome. Unfortunately, the promoter turned out to be kind of a shitbag, and some confusion over getting paid in Euros vs. Hungarian Forints (that are worth pennies on the dollar) led to an alcohol-exacerbated shouting match between pretty much everybody and a lot of confusion. The next day, we got out into the city for a bit of sightseeing, which was cool. When the dust settled, we realized that we had been shorted about $150 from our guarantee, which was a bummer. Originally, we were scheduled to play in Romania, but the show ended up getting canceled and we added a door deal show at a local metal bar in Vienna at the last minute. In only a week and a half, the promoter managed to get over 100 people in the door, and we had a great time. That show was more like a party than anything, and everyone relaxed a little and as usual, drank way too much. The next day was further east, in Slovakia.
Decrepit Crescendo in Budapest

I always get Slovakia and Slovenia confused, but we had played Slovenia in '11 with Cephalic Carnage, which was one of the better shows of that run. Slovakia ended up being killer as well. Like I said, Eastern Europe, man! The last two dates of this leg were in the Czech Republic, which has always been one of our strongholds. The Prague show was packed, and locals Gride were awesome. The last show was in Ostrava, which still has the total Eastern bloc vibe going on. Boxy Soviet-era apartment complexes are everywhere, and there is a lot of urban decay. Regardless, the show was near capacity and fully raging. At one point there were so many stagedivers during our set, there was an actual dogpile on the stage. I caught up with friends from Malignant Tumor, and Wes discovered one of his new favorite bands: Nuclear Vomit. Shots were gulped, beers were downed, and it was bro-hugs all around as the Rotten Sound dudes departed for an early flight from Prague to Helsinki the next morning. That night, the Magrudergrind lads and us were literally the only occupants of an extremely Soviet, extremely 70's hotel replete with faux wood paneling, bizarre light fixtures and long-empty conference and banquet halls. It actually might have been kind of spooky, if you're into that sort of thing. We spent our last night together listening to old-school hip-hop and getting toasted. We piled in the Magrudergrind van to catch a ride to the small village where our old friend Curby of Obscene Productions lives. After bidding the Magruder duders a fond farewell, we had five days off to kill.
 
Casketkrusher / The Matter Of Splatter in Ostrava, Czech Republic 

We spent a couple days at Curby's house with his longtime girlfriend and their three kids. It was nice to relax, bathe regularly, eat vegan food (Curby is a militant vegan, and serves only vegan food at his awesome Obscene Extreme festival every year in Trutnov – not coincidentally, we were booked to play this summer), and just sit and watch tv, even if it was in Czech. After a couple of days of vegging out, we headed to Pardubice, to hit the Pilsner Urquell pub and watch the local football (aka: soccer) and hockey matches. The next day it was off to Cesky Krumlov to see one of the fanciest castles in the country and visit my old friend Vlakin from Czech grinders Ingrowing. We hit the Budweiser (here they call it Chechvar beer due to copyright restrictions) brew restaurant and had a great time bar-hopping. The bartender at the Singer Pub in town was actually a huge Exhumed fan, and hooked us up with free drinks and a bunch of t-shirts for the pub, which was awesome! Finally we headed to Prague for a day of tourism before we flew out to Helsinki. Curby was an excellent host / tour guide, and we headed for Scandinavia well-rested and ready for some northern comfort.

There was a lot of this occuring during our time off in the Czech Republic

Hanging with the kids at Curby's!
We had only played a festival in Northern Finland previously, so we really didn't know what to expect for the Helsinki show. The venue, Virgin Oil Co. was extremely nice, great stage, helpful staff, excellent food menu, and pretty big. I always get worried playing someplace for the first time when it's a nice club and pretty big – the opportunity for failure in that scenario is huge. This time however, everything worked out great. The openers, Cannibal Accident and Torture Killer were both good dudes and good bands, and the place was filled out quite nicely. We had a great time, and it was strangely kind of nice to be playing shows again – having a few days off was actually a bit weird. The following day, we left our very nice hotel and headed out into the mid-March Finnish cold to get on yet another plane – this time to London Heathrow.

If ever there was a clusterfuck of an airport, it would have to be Heathrow. Luckily, getting in actually wasn't too bad, after having our work permits cleared by customs. We had the night off and grabbed our bags and gear (we didn't hire the van and driver until the next day to save a couple bucks) and headed to airport Ibis hotel, which was a bit nicer than we had expected. England is great, but it's fucking expensive, even worse than the rest of Europe, especially since the pound is stronger than the euro, which is stronger than the dollar. The next day we were picked up by the affable Mat Hocking, who had been our driver last year when we did a couple festivals and a handful of shows with Atheist. In fact, Mat actually met his girlfriend on our tour in Paris. Between that, the Swiss marriage proposal, and the other marriage proposal during our show in Rochester last year, it's safe to say that Exhumed is a band that helps everyone except ourselves in the romance department.

This would be our first time playing in most of the cities on the UK leg of the tour, but Britain is such a small country, the drives were mercifully short compared even to our Europe dates. We kicked it off in Bristol, where we met up with the Anaal Nathrakh guys, who were doing the four shows in England with us. For whatever reason, they wouldn't be accompanying us to Ireland for our two dates there. Bristol was a fun gig, and the local openers were a great grind band called Merciless Precision that played with us the following night in Cardiff (in Wales). The Cardiff show wasn't quite as good as Bristol, I'm sure the fact that it was on a Monday didn't do us any favors, but it was still a good time and the vibe was there. After the gig, we were on the road that night to catch the ferry to Ireland.

Having never been to Ireland, I was a little underwhelmed by just how... British it was. I was also surprised to not see redheads everywhere. But what can you do? At least people did have those charmingly indecipherable Irish brogue accents there. Belfast was a lot of fun, and we even had time to do some sightseeing the next day, including downtown and a lot of the area where the IRA violence took place back in the 80s. Unlikely as it sounds, we actually grabbed a burrito for lunch before heading to Dublin that wasn't half bad. As soon as we hit the club in Dublin and loaded in, we took off to see the statue of Thin Lizzy bassist Phil Lynott, which was about a fifteen minute walk away. We hit the pub where the statue was and had a few beers before heading back for the show. The show was okay, nothing spectacular, but we had a good time partying at the bar with the kids before driving for another early boat ride back to Britain. We met up with the AN boys again in Manchester for a good show, and our second to last before heading back to the good ol' US of A. The run ended on a high note in London, with a tightly packed room of maniacs having a what Mick Harris would have undoubtedly described as a “Total Holocaust Doss”. Unfortunately, our flight left early the next morning and we were unable to party in London on Saturday night... Weak. At any rate, we boarded our flight after some excessive baggage fees courtesy of the assholes at Air France and headed home for four days off before starting our “Bowels Of Goreporate America” run.
Vacant Grave in London
I'm doing the best I can to simultaneously write the new album (five songs in the can, thank you!), design T-shirts for our upcoming tours (Summer Slaughter + more TBA very soon) update this blog, read some books, have some sort of social / family life, etc. so please be patient. Cannibal Corpse / Black Dahlia tour anecdotes coming very soon. Oh yeah, and you may have heard I filled in for five shows on the Death To All Chuck Schuldiner / Death tribute tour in my spare time. So lots to cover. And recover from. To be continued very soon. 


Wednesday, February 15, 2012

Crap From The Crypt: Exhumed live, past, present, future, and distant past

I'm a firm believer that there are certain criteria you have to fulfill to be in an actual band - and one of the most important is that you have to play shows. That's what bands do: they write songs, they rehearse, they record, and they play shows. If you don't play shows, you're a "project", not a band. Sorry, but that's just the way it is. Our current logistical situation, with myself and affable sticksman Mike Hamilton in the San Luis Obispo area, six-stringer and beer repository Wes Caley in Arizona, and bassist / vocalist / perpetual brunt of height-related jokes Rob Babcock in Orange County California, you can probably guess that we don't fulfill the "rehearsing" criteria I mentioned above too often.  That said, we do play a lot of shows.  Last year, we played 88 shows in sixteen countries, and we didn't get started until April. In case you live in Europe or North America and somehow missed us, don't worry, because 2012 looks to be just as intense.  

We started off February 11th, with a corporate-rock cash-grab extravaganza: a free Relapse Records showcase with our labelmates Tombs, Revocation, Black Tusk, and Royal Thunder sponsored by everyone's favorite car company / bizarre benefactor of free shows, Scion Motors.  You can read a review of all the craziness here

Here's "I Rot Within" live at the Roxy. You can also get a good sense of what complete dicks the venue was being to the kids diving.


As you may have heard, we had to cancel our scheduled dates in Brazil due to issues with our visas - it became a total clusterfuck of a nightmare, let's leave it at that.  I am totally bummed about the whole debacle, but trying not to dwell on it too much.  At least we have a bunch of other tours coming up. Next week, we head to the olde country for our "Grind Over Europe" tour with Rotten Sound and Magrudergrind for three weeks. For those of you who aren't European grindcore nerds, "Grind Over Europe" was a tour that the late, lamented Morbid Records put together in the mid-90s with Haemorrhage, Dead Infection and CSSO. They did a part II in 1997 with Hemdale, Nyctophobic, and... drum roll, please... Exhumed. I thought it would be fun to resurrect the franchise and get on the road with some awesome bands that love blast beats as much as we do (or probably more!).  


Exhumed live on the Grind Over Europe II tour in (the appropriately named) Rotterdam, Holland back in 1997. Don't worry, I have no idea what we were playing here either.

At any rate, once we wrap up that run, we head to the UK, land of tea, crumpets, bad teeth and all of my favorite bands (I'm looking at you Napalm, Carcass, Bolt Thrower, Ripcord, Extreme Noise Terror, My Bloody Valentine, The Cure, Moose, Chameleons, Angel Witch, Diamond Head, UFO, Judas Priest, Deep Purple, Amebix, Discharge, Crass, etc. etc.) for a week with Black / Grind maniacs Anaal Nathrakh.  


We'll also hit Ireland for the first time, which means Wes and I can go visit the Phil Lynott statue, drink whiskey, and copiously weep at the loss of the greatest songwriter the world has ever known. 

The Ireland dates are basically just an excuse to see this.
At any rate once we leave Ireland and England, or as I call the UK "basically America, but with castles and shittier food", we'll have a few days off before we hit the road with Abysmal Dawn and Arkaik on our way to meet up for a month of shows as direct support for this band some of you may have heard of. What band, you ask?  Fucking Cannibal Corpse.


That's a month-long run, all over the good ol' US of A. Once that's finished, we'll head north from the Sunshine state to meet up with yet another North American tour which hasn't quite been announced yet. Suffice it to say we'll be doing a few dates in the northern midwest and leftward and several shows in the land of the McKenzie Brothers - yup, Canada. After that all wraps up, we'll finally get a bit of time off - and it also will be fucking June. 

The average Canadian citizen. There is also another guy yelling "Leafs Suck!" behind them.
Oh, I almost forgot, this July we're doing the Obscene Extreme Festival in the Czech Repubilc - pretty much the biggest Grindcore party in the fucking world, with Nasum, Asphyx, and Discharge. Lineups don't really get better than that, dude. 



And after that, it's back to North America for Summer Slaughter with Cannibal Corpse (again! stoked!) and a ton of other bands that may or may not have been announced yet, so I'll keep quiet about them here. I'm getting way too old for this shit!  2012 may not bring the end of the world, but it just might succeed in killing little ol' me.  After all of that madness is concluded, we're going to try to hole up in a recording studio and crap out yet another record of unlistenable garbage in a continuing effort to fulfill our record contract and see just how much of Relapse's money we can waste over a fourteen-year span. 

In keeping with the theme of discussing our live exploits, I've posted a couple of live shows for your listening... I was going to say pleasure, but that might be a stretch. How about just "for your listening".  That's pretty good broken English - kind of like how people used to always send letters asking to "trade for your stuffs" back in the early '90s. Good times, bad grammar.  At any rate, these two shows are almost a decade apart, have 100% different set lists, vastly different line-ups and should be good for a laugh or two.  Up first is a live recording from a show we did in 2004 in Vancouver.  We were touring for "Anatomy is Destiny" with Uphill Battle supporting, which was convenient since Danny Walker was playing drums for both bands on that tour.  The lineup for Exhumed at that show was yours truly on guitar and vocals, Danny on drums, Leon del Muerte on bass, and Mike Beams on guitar and vocals.


1. Necromaniac
2. Waxwork
3. Forged In Fire (Formed In Flame)
4. Bass Solo
5. Emeticide
6. Casketkrusher
7. Slaughtercult / Deadest Of The Dead
8. Septicemia
9. Nativity Obscene (part 1)
10. Drum Solo
11. Nativity Obscene (part 2)
12. A Song For The Dead
13. The Matter Of Splatter

The second show goes waaaaaaaaaay back to 1995, back when there was no internet, people thought that Pitch Shifter were "the future of metal", and I could still fit into my Sodom "Obsessed By Cruelty" sleeveless shirt but could not yet legally drink. One of the best things about this recording is how obvious the complete disinterest of the audience is. I remember this show distinctly because I had asked for the day off of work at my job at Tower Records (remember them? They were a record store chain.  Remember those? They were neat.) and they shut me down, so I had to call in sick like a complete dick. A couple of my supervisors tried to trick me into admitting it, but back then I was too good at lying to fall for it. Oh, to be 19 again, when I just didn't give a fuck about anything and worked even crappier jobs that I have in my 30s.  Anyway, the lineup for this show is myself on guitar and vocals, Ross Sewage on vocals, Col Jones on drums, Derrel Houdashelt on guitar, and Matt Widener on bass.  We had just recorded the "Horrific Expulsion of Gore" demo the preceding summer, which was getting great reviews in tons of fanzines and getting traded all over the world - but no one in the bay area was into it at all, as evidenced by the crowd at this show.  You can also observe that the stage banter Ross and I were employing had a really, really long way to go in those days.

1. Ziploc Bodybag
2. Excreting Innards
3. In The Throes Of Ecstacy
4. The Pallor Of Unliving Flesh
5. Pyathrotic Discorporation
6. Puke Of The Dead
7. Vagitarian
8. Radiator Bitch

If you want to really dig into the vaults, you can check out a show from 1992 in its entirety here - if you can make it through the whole thing in one sitting, you're a braver soul than I. In my defense, I wasn't even 17 yet when this show happened - the other guys were 17, Ben was 19 or so at the oldest. And no, I have no real explanation for the shorts. The really cool thing about that link, is that you can check out Phobia, Mindrot and Immortal Fate sets from the same show there as well!  Plutocracy also played that day, and almost started a riot when they lit an American flag on fire onstage.  Good times!