Danzig, Cradle of Filth, Crobot & Necrofier
Rustbelt Rock Reviews
By: Z.M. Delgado
Zackolantern.com
Volume #11: Danzig, Cradle of Filth, Crobot & Necrofier
May 14, 2022
Andrew J Brady Music Center, 25 Race St. Cincinnati, OH 45202
Well my Heavy Metal Siblings, have I got something in store for you today. It is quite a tale, and thus may run a little longer than most. It began in the wee hours of Saturday May 14th, as I closed my laptop and finished the first draft of my review on “The Bay Strikes Back.” By the time I had closed up the house, and got my ass into bed, I had barely allotted myself six and half hours of rack time, before I had to be up to pack my bags. Chen and I had the unparalleled privilege to be on our way to see the one and only, Danzig; performing his only Midwest date, in Cincinnati. The doors were set for 4:30pm and with a 4 hour drive across the Buckeye State ahead of us, we knew we had to be on the road early. So Chen was scooping me up at around 10am, to be in town before 3pm, leaving us plenty of time to check in, find a spot to get some drinks and then head to the show. Unfortunately at 7am, my daughter began shrieking like Jaime Lee Curtis, causing me to jolt awake in a fog of fight or flight madness. This is not a great state to be in when trying to pack for a trip. The following hours were no fun, but right on schedule Chen arrived and we hit the road.
Many miles ahead of us, Chen steered the car southwest. Good tunes and conversation about the upcoming event ensued and the miles melted away. Making good time, we arrived in Cincinnati ahead of schedule and began the search for our room. Chen secured the reservations many months ago, and lucky for us that he did. That was in part because we felt fortunate to find anything at all on account of a more recent development. The Cincinnati Reds were home that weekend which alone will cause logistical issues. Worse yet: that weekend Garth Brooks was playing, not one but, two sold out shows at the Bengals Stadium. So, would you like to wager a guess as to where the Danzig show was? Well, as a matter of fact, it was being hosted at the brand new Andrew J. Brady Music Center; located smack dab in between the Reds and Bengals Stadiums. That’s right, the Danzig loyal, the Blackest of the Black, the Fiends of the Midwest were assembling in between lovers of America’s national pastime and tens of thousands of country music fans. (I feel an involuntary shiver of revulsion even now remembering it.) Being situated on the border of Ohio and Kentucky, Cincinnati is undoubtedly a very “country” town even under normal conditions. Heading there during a visit from one of the genre’s biggest acts, is like time traveling to the reconstruction era south and bringing kegs of Natty Ice. Suffice to say that these… um, people, were in a very free spirited and celebratory mood. But, I digress...
Chen and I attempted to find our way through the nonsensical nightmare of one way streets that is downtown Cinci. Eventually, after several passes we located the right block, then the building, then finally its assigned lot. After unpacking the car, we cranked up the tunes and cracked into some cold Coors Banquet. I’d guess, four beers later, we found some nondescript cups in the room and pouring beers for the road, decided to wander out into the city. The weather was gorgeous and our spirits were high. In spite of my sleep deprivation, I was doing fairly well at holding on to my sanity. The beers helped and inching ever closer to show time, I was getting excited. Chen navigated us through downtown making our way to a bar called “The Blind Pig.” It was near the venue and the website showed it had a rooftop patio; which were our only criteria on such a beautiful day. We arrived to an unsurprising blend of country music and hick-hop on the jukebox. The bar was standing room only already, but not too overly crowded and there was a grill selling cheap burgers and hot dogs. So we grabbed some chow and a couple of tall boys and posted up along the wall. Things went well… for a while. I believe it was just prior to our third round when I began to notice how close things were getting. Chen was in line for brews and I was holding down our spot in the corner with ever decreasing success. With each passing moment the country music fans crept closer and closer to me, and I began to feel very… exposed. Eventually Chen came back with our beers, and as per the usual response, people crowded me less with my gianormous wing man present. (Funny how that works.) It was not long before Chen once again reminded me of our cruel master: time. We emptied our talls and headed to the venue. By this time the streets of Cincinnati had become overrun by a swarming mass of tight wrangler jeans and cowboy hats; mirrored shades, tattoos of deer or American flags (or deer WITH American flags) and shirts claiming “I am the friend in low places.” These people outnumbered black shirts and Battlevests, 1000 to 1 easily. In fact, we were probably fifty yards from the doors of the arena before you would have even suspected there was a Metal show happening. It was eerie, as if we had stepped into some sort of post apocalyptic nightmare scenario… like zombies, but with pickup trucks and big ass belt buckles.
It was a short walk from “The Blind Pig” to the Andrew J. Brady Music Center, and we arrived in a few minutes; probably around 5pm. Chen and I had never been to the AJBMC before, though that is to be expected. Apparently it has only been in service since July of 2021, so there have been limited opportunities to attend. Sandwiched between the two stadiums, the hall looks diminutive in proportion. Once inside the illusion dissolves and you realize you are in a fairly nice sized arena, allegedly able to hold up to 4,400 people inside. Clearing security, we made our way to the floor on our hunt for the bar, bathroom and the merch table. Soon enough we found all three. This was something I liked about this venue’s layout: Restrooms, two concessions stands and the merch table are all in view of the stage. We had heard rumors online that the merch lines for this tour had been very long, so we wanted to make our pass before the music started. This was not really a concern at AJBMC because you can see the show from almost any point in the line. Convenient sight lines aside, the line moved fairly quickly and both Chen and I walked away with a pair of amazing Danzig tour shirts. (Each different designs; there were a lot of options.)
Merch secured, it was back to the bar, and then out to the floor. (If I remember correctly tall cans of Budweiser were 12 or 13 bucks: Pretty standard for an arena show.) We took a look around to assess the layout. The floor was nice size, and above were two tiers of seating, and standing room. The way I described it to Chen, was as if they had taken your standard basketball arena, and cut it in half. This is not a multipurpose sports complex, being converted for a show. This is a music venue, and is designed accordingly. As we would come to find, not only are the merchandising and concessions setup to cater to a concert crowd. There is a spacious outdoor smoking area without a security checkpoint or any of the tedious scanning in and out of tickets you get at other arenas and stadiums. We were free to move about the arena, not restricted to the floor alone; general admission means exactly that. We wandered up to the higher tiers and it appeared as if the view was good throughout. The upper levels have their own concessions and restrooms as well. According to the innerwebs, the farthest seat in the house is only 125ft from the stage, which is pretty cool. Most important of all, as we would come to find out later, the sound and lighting are really top notch. In fact, with the exception of some levels during Cradle of Filth, I had no complaints during the night.
Necrofier
I think the music kicked off on schedule at 6pm, with Necrofier. Described on their webpage as “Black Metal from the Fires of Texas,” the Houston four piece took to the stage to a spooky choir track, piped in through the PA. As far as stage show went, there wasn’t much to be discussed. They had a pair of free standing banners on either side of the band, and vocalist/guitarist Bakka Larson had a rams skull dangling from his mic stand which is always a nice touch. Musically, I am really not the best talent judge. Strictly speaking I am not what you would call a “Black Metal Guy.” I don’t hate the genre by any means; I am just… unsophisticated as a critic. Any Metal subgenre has its subtleties and nuances. I would be remiss to judge Necrofier’s sound without at least admitting this.
Josh Bokemeyer / Dobber Beverly / Bakka Larson
That being said, they were undoubtedly true to the sound they strive for. They delivered a very tight, precise set. Larson’s vocals were the equal to any I have heard, certainly superior to some. He did continue to use his “Metal Voice” while talking to the crowd between songs, which I found silly in my inebriation. I detected nothing new or groundbreaking in their style, but not every band is trying to be cross genre avant-garde artist. Some want to stay true to their roots and there is nothing wrong with that. Heavy Metal is a community that honors tradition. I did take note when they paid tribute to Trevor Strnad, recently deceased Frontman of Black Dahlia Murder. Though I did not catch the title of the track, I remember it was an impressive number. In fact, as Necrofier’s set progressed I found myself enjoying the songs more and more. While no moshpit formed, the crowd was banging their heads for sure as they closed out with “Visions in Fire.” I found this to be their strongest track by far, featuring a nice breakdown with some impressive soloing over it. As far as your “Standard Black Metal” goes, Necrofier was pretty good. I spoke to a few young women in the crowd after. I singled them out specifically because one was wearing intricate corpse paint; the second I came to discover had a network of facial piercings. I asked them their opinions on Necrofier, and while I regret forgetting to get a quote, they both gave them their approval.
Crobot
Bidding the ladies a farewell, Chen and I grabbed another round and circled back for the next act: Pottsville, Pennsylvania’s Crobot. Now Chen and I have held a conference on this act. We know we have seen them in the past (w/ Motorhead and Anthrax, 2015) and that we hadn’t particularly enjoyed them. Despite this, a band has to be REALLY bad, for us to ever outright skip a set. So we decided: “What the hell? We’ll check out Crobot again.” Let me tell you, that was the best damn decision we’d made in a long time. Their stage had a dragon head off the left of the stage; behind them, hung their logo banner: adorned with a cat head; to the right Excalibur stuck into a slab of stone. Meanwhile, at center stage the roadies wheeled out a big, green egg; maybe four or five feet high. It was wrapped in vines and leaves, and resembled something from a 1950’s Sci-Fi flick.
Brandon Yeagley
The band broke into “Electrified,” an upbeat rock song, with high octane riffs. While the crowd was immediately drawn into the jam, it wasn’t until the egg burst open and Frontman Brandon Yeagley leaped out, that the real screaming started. From that point on, I don’t know that it stopped. Yeagley, sporting a flamboyantly sparkling, skin tight get up, stoked the crowd reactions with his unquestionable fire and enormous stage presence. He strutted, leaped, spun and shook with energy to rival Jagger, Plant or Presley. He even pulled out a harmonica for one number. The incredible exhibition wasn’t limited to their singer alone. Guitarist Chris Bishop, an absolute shredder of Southern Rock style, frequently throws his ax, spinning it around his neck on its strap and then catches it again, never missing a note! Most impressive of all is when Yeagley sprinted across the stage, and leaped into the air, landing on Bishops shoulders midsong. It was some of the most fantastic stage acrobatics I’ve ever seen.
Holy Shit! Would you look at that egg!
Playing nine songs in total, they drew heavily from their forthcoming release “Feel This” (Out June 3rd on Mascot Records). The remaining songs came from 2018’s “Motherbrain,” including my top track of the week “Low Life.” If you haven’t figured it out as of yet, Crobot’s set last Saturday completely changed my opinion on the band. In appreciation for the mind-blowing performance, Chen and I braved the merch line a second time and we both snatched up shirts. I have since picked up three of their prior releases and preordered “Feel This.” If you are a fan of Corrosion of Conformity, Soundgarden, The Black Crowes, or Mothership, I highly recommend you check out Crobot. You won’t be disappointed.
Cradle of Filth
Up next was England’s Cradle of Filth. Now taking into account everything I said about Black Metal earlier, I was actually really looking forward to this set. In the subgenre I tend to enjoy the more artsy, theatrical and orchestral types. Bands such as: Behemoth, Dimmu Borgir, and Abigail Williams to name a few. I consider CoF a peer of these acts, and I know they are hugely renowned all over the globe. As far as Black Metal bands that are on my list to see, CoF was definitely among them. Dani Filth led his minions onto stage, and then introduced them to the crowd in his reptilian hiss: “We are the vile creature known as Garth Brooks!”
country music legend Garth Brooks
They then broke into “Existential Terror” and proceeded to unleash an absolute barrage of lights and sound upon the AJBMC. They played a total of 8 tracks, closing out with their classic “Her Ghost in the Fog.” Adorned in the leather and face paint they are so well known for, CoF has taken the “Black Metal look” to its greatest extent. Their sound, a blend of haunting melodies, pounding beats and slashing riffs, is possibly the subgenre at its most commercially accessible. The female vocals, provided by keyboardist Zoe Marie Federoff, add a distinct layer that contrasts and compliments that of Dani’s. This blending, along with the keyboard melodies, is the cornerstone of the band’s sound and something about them I particularly enjoy.
Cradle of Filth
My one criticism is in regards to Dani Filth’s vocal level. He switches between several different styles during their songs. Different tones, different intensities and subsequently delivered at different volumes. Now on the albums, this is all mixed and balanced really well. Not a difficult feat to achieve in the studio. On the contrary, this sort of thing can be a sound engineering nightmare live. Filth attempts to alleviate this by varying the distance between his mouth and the mic, depending on whether he is growling, snarling, shrieking or speaking. Subsequently some of his higher octave squeals, which blend flawlessly on the record, end up being way too loud when performed live. I found the piercing high notes to be distracting, and by sets end, it had kind of killed the vibe for me. While they undoubtedly delivered a strong and energetic performance, the issues with this one portion of the mix was a problem. I have seen other singers who have wide range utilize multiple mics, set to different levels, to prevent this. (Maynard James Keenan immediately comes to mind.) CoF has been around the block enough times that this can’t be the first time this has happened. I could certainly be wrong though. This could have been an isolated incident. If this is a frequent problem though… maybe it’s time to rethink that mic setup.
The anticipation grows.
And then it was time. The other bands gear was lugged away. The banners were removed, so that nothing stood between us and that singular image of power and darkness. The horned demon skull itself, aka: Crystar. I am having real trouble putting my thoughts together right now. I have so much to say, but I don’t want to ramble. Yet, I feel I have to give some context for my tone to make sense. You see, to put it plainly: Danzig is my favorite band. Like most Metal Heads I have a long, ever shifting ranking system in my head of all the Metal bands I have ever encountered. I can, and frequently do, debate for hours on end about who is better and by which criteria they should be judged. But you put me on the spot, gun to my head and you say “What’s your favorite band?” The answer will undoubtedly always be: Danzig.
The question of “why,” is far more complicated and I can’t easily answer it. I frequently reference my first show in ’94. Guess who played right before Metallica that fair day? You guessed it: Danzig. When I went away to school at 18, and my new friends introduced me to the Misfits and Samhain, I was astounded to find out the singer of those two bands was also Mr. Glenn Danzig. After years of listening to punk and trying to be “more positive,” what was the first metal album I bought, the day it was released? Danzig 7. When Chen and I took our first road trip to an out of town show and discovering a whole new level of freedom, guess who we saw? Yes, again the answer is, Danzig. Since I was in junior high, up to this very day, Danzig has been with me every step. He is not the heaviest. He’s not the fastest. Hell, by today’s standards, he’s not even the “evilest” anymore. (Though, I would say those who have taken it further were surely inspired by Danzig’s work. While they may have surpassed him in gore and brutality, they have none of his charm, seduction or class.) Whatever it is about Danzig, it hits me hard. I know I am so far from alone in these sentiments. This unique blend of darkened Blues, Rock and Metal is something special.
Glenn Danzig and Steve Zing
Accordingly, I was absolutely trembling in anticipation as the lights went down and the crowd unleashed a roar. Tommy Victor, Steve Zing and Karl Rosqvist took the stage and broke into the now perennial opening number, “Skincarver” from “Circle of Snakes,” with unadulterated fury. As the riff ground away at our minds, the frenzy welled up to new heights as HE took the stage. Glenn Danzig, grinning with confidence swaggered to the mic and let loose. Black clad, biceps bulging, voice soaring; he looked and sounded every bit the legend he has become. Next they broke into “Eyes Ripping Fire,” from “Black Laden Crown.” This would be the last of the “new stuff” we would hear that night. Little did we know, the remainder of the set would be comprised from Danzig 1, 2 & 3, without a doubt the strongest albums of Glenn’s long and storied career. The first two songs suddenly felt like mere sound check tracks, as Tommy broke into the iconic notes of “Snakes of Christ.” This was the moment when I knew we surely had something monumental going on. For Glenn to choose to play a song of this caliber this early in the set, made me think “If this is song three, what is he planning for later?”
Glenn Danzig
So, Danzig is my favorite band, right? Well, my favorite album by my favorite band is #2, good old Lucifuge. And my favorite song, from my favorite album, by my favorite band, well that is unquestionably “Killer Wolf.” But even after all the years, all the shows… it also happens to be one song I have never seen live. When “Snakes” wrapped, and Glenn asked the crowd a question: What do you want to hear? “Killer Wolf” or “Blood and Tears?” You can imagine what I was screaming at the top of my lungs, trying desperately to make my voice rise above the din. There was an agonizing period of seconds that seemed to stretch on for eons, before he finally said the words I’ve been waiting to hear for decades. “Let’s do Killer Wolf.” My mind imploded on itself. My heart overflowed. The booze, the sleep loss, the years of waiting, the absolute overwhelming sensation as I heard the melody begin; it all hit me at once... There are truly no words. For certain, it was an absolutely cathartic and deeply personal moment that I will never forget.
Glenn surveys his Fiends.
Of course, that was only song four, and Danzig was far from through. Astonishingly he played my second favorite song “Her Black Wings” next, and then deciding it was too cruel to force us to choose, we got “Blood and Tears,” as well. Apparently feeling that “Lucifuge” needed a break, he treated us to the song that started it all, “Twist of Cain.” This sent the room into unprecedented violence, which only continued into “Do You Wear the Mark?” Just when I thought the set could soar no higher, Glenn announced what might be the band’s masterpiece and one of the finest live tracks you can ever witness: “How the Gods Kill.” Glenn hardly needed to lift the mic to his lips throughout the intro, as the crowd participation was so loud it almost drowned him out when he did. As the song finally broke, it had enough power that it felt as if Danzig could have split the floor wide and opened the very gates of hell. The singular energy summoned in that moment is breathtaking and terrifying.
Is that a smile behind the mic? If i didn't know better i would say he was having a good time on tour.
The boys were far from finished. “Tired of Being Alive,” “Not of This World” and then “Long Way Back from Hell” followed, keeping the Fiends moving; truly under Mr. Danzig’s thrall. Tommy then struck his guitar, emitting a chord progression that we all have tattooed on our hearts. The most iconic and recognizable of melodies in the bands catalogue: It was time for “Mother.” They pounded through the thunderous hit, driving the crowd mad with passion and appreciation. After that, they briefly disappeared, yet the lights did not come up. No, Danzig was clearly seeing the fire in his fans eyes, and wanted to reciprocate. A few short minutes later they reemerged, and performed possibly the only two tracks remaining that could have been considered “overlooked essentials.” Closing out a set of classics, with two absolute monsters: “She Rides” and “Devils Plaything.”
A Metal Legend.
After that Danzig said goodnight, to uproarious ovations from his loyal legions. Leaving my fellow Fiends and I exhausted, appreciative and speaking for myself with fanhood reinvigorated to teenage levels. We filed out and walked back to our room. Luckily the Garth show had yet to adjourn, so we had the streets more or less to ourselves. I don’t know how many times we said it, or in how many different variations, but Chen and I agreed: That was the best damn Danzig set we’d ever seen. For those of you keeping score at home, that was 15 songs! (13 of which from the first three albums; 7 from Lucifuge!) The sound quality was outstanding, and I have to say that the engineers at AJBMC did an excellent job. I was enthused enough to get in the Pit for the first time since January, and I sustained some very satisfying bruises for my effort.
As many of us have become aware, Glenn has said that this will be his last tour. (Though he says he’ll still do one off shows and festivals etc.) We know he has threatened this before. He hates the bus. He hates the grind. He hates the bullshit. I mean, he’s Glenn Fucking Danzig, man! He hates! It’s what he does. Despite all this, I think he really loves “us.” That’s why he has always come back, but one of these days, it’s gonna stick. When that day comes, realistically it is going to get much more difficult for Fiends in smaller markets, like Cleveland and Cincinnati, to see this legend do his thing. I have to come to grips with the fact that the day will come when I will see my last Danzig show. I hope that day was not this past Saturday. When the follow up to Black Laden Crown comes to light, I want Glenn to remember great shows like these and say, “Why not go one more time?”
The Killer wolf in the flesh.
But if the unthinkable is true, and this really is goodbye, then Danzig: Glenn and all members past and present. I can’t express what your music has meant to me. I wear the mark, not just on my left arm, but on my soul. You’ve given me strength. You taught me self respect. You showed me how to make my own way: How to walk of the Black Hand Side. I, and the millions of Fiends like me, know that “Left Hand Rise Above” means so much more than some mere Satanic Rock slogan. It’s about finding that power inside yourself and harnessing it. So, if this was the last time I see Danzig perform live, it was a most worthy end: It was hands down the best set I have ever seen him play. It would be a shame for Glenn to hang it up, as his voice appears to be stronger than ever and the Fiends are still out here and we’re still hungry for more. Until next time, Rock on, Rustbelt!
-Z.M. Delgado
May 16 & 18, 2022
necrofier.bandcamp.com
Crobotband.com
Cradleoffilth.com
