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Author: admin, 18.12.2013
A penta-thrax of five ungodly loud, black-clad thrash bands besieged House of Blues April 16th , overtaking the intersection of Euclid and E. The 2013 Metal Alliance Tour brought headliners Anthrax to Northeast Ohio for the third time in less than two years.  The pioneering hardcore group from New York played HOB with Testament in November 2011 in support of its then-new Worship Music and bulldozed through Blossom Music Center in July 2012 as part of the day-long Rockstar Mayhem Festival. Barring a technical glitch that took mere seconds to resolve (the band’s stage monitors weren’t working for “ATL”), nothing slowed them down.
The bald but ample-bearded Ian halted the proceedings for a “moment of rage” (instead of silence) against the “heinous violence” in Boston the previous day, asking that they shout as loudly as they could for as long as they could. The band shoehorned their version of Joe Jackson’s “Got the Time” (from 1990’s Persistence of Time) in before the frantic ATL finale, “Imitation of Life,” and had Benante splashin’ and crashin’ his cymbals to the tick-tick-ticking refrain.  Encores included Anthax’s tongue-in-cheek rap-metal zinger “I’m the Man” and Trust cover “Antisocial” (from 1988’s State of Euphoria).


Anthrax buddy-band Exodus primed the HOB head-bangers with a 45-minute dose of pile-drivers that sampled from all points in the stalwart San Francisco outfit’s career.  New track “Ballad of Leonard and Charles” touched on the atrocities of the second Sino-Japanese War, while “Lesson in Violence” and “Strike of the Beast” stretched back to 1985’s Let There Be Blood.
Beefy, headband-sporting Ryan Waste tortured his signature Fernandes V-Hawk and pushed its Seymour-Duncan pickups to their limits with a deft picking hand.  An estimable southpaw guitarist, Waste struck a nice visual symmetry with right-handed bassist Philip “Landphil” Hall at the opposite end of the stage, propping his foot on a monitor and alternate-picking as drummer Dave Witte invoked his junkyard thunder. The Springfield, Massachusetts band bid farewell with an adrenalized version of  Bob Marley’s “War,” from the reggae king’s 1976 LP Rastaman Vibration. Nuclear Blast newcomers Holy Grail prepped the Scene Stage with a half-dozen hell-raisers from its two studio releases.  “Dark Passenger,” “Bleeding Stone,” and Crosswinds” gave the crowd a taste of the Pasadena quintet’s latest disc, Ride the Void, while “My Last Attack” and “Fight to Kill” harkened from their 2010 debut, Crisis in Utopia. All told, it was a long night of brutal metal that left a near-capacity audience sweaty, sore-throated, and ready to consult a physician for tinnitus.


4th with its surplus of distorted decibels as another cold front wafted into downtown from over Lake Erie.



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