<>"I guess the thing that makes Emissions special is that it`s at the Nyabinghi and not in a city that every band hits on their tours. That alone makes it special because people from the coasts have to get off of their lazy, spoiled asses and come to Ytown to see these bands in the only place they`ll ever see them on the same bill. That being said, for the bands it`s the only place they`ll ever get to meet this many contacts in one spot (although I was waaay too fucked up for schmoozing this time). I`m glad that something like Emissions happens (there should be a lot more of these type of events) because it’s where after all of the shitty shows you play, there`s this little oasis of die hard fans that love underground rock so much that they make it too much fun to quit playing."
- Lamont
Youngstown, Ohio is one of those dying Midwestern places that earnest singer-songwriters are compelled to write songs about. It`s a city where the police station is the nicest, and possibly the largest, building. Pick a direction – any direction – and you`re sure to find at least a half-dozen boarded up houses and businesses. The economic decay is strong enough that you can almost smell it in the air. From an outsider`s perspective, it`s a city that offers little, if anything at all.
It`s somewhat fitting, then, that Youngstown has been the setting for five of the past six Emissions from the Monolith festivals. Three days of rock (the length of the festival in previous years) is exhausting. Four days, however, is an endurance test. As it was stated by one audience member towards the end of Sunday’s show, "The human body was not designed to be standing for 12 hours at a stretch." If you`re going to go to a four-day rock festival, you might as well be somewhere where you can`t be distracted. Because in the end, you’ll have nothing left to spare.
Inside the Nyabinghi, the club that`s hosted every Youngstown Emissions, it`s nearly impossible to fathom that there`s a world outside. It`s a standard brick bunker of a building, thick, squat, and eerily quiet from the outside. But once you enter the building, it`s apparent that the ‘Binghi is a paradise for alcoholics and rock fans alike. For the former, there`s a beer list that puts most major metropolitan bars to shame, and the prices are low. For the latter, in addition to the 40-plus bands playing at eardrum-popping levels in the back room, there`s also a jukebox that can drain you of your cash faster than a Vegas slot machine. The club knows its audience well.
And the audience is here for one purpose – a celebration of some of the heaviest, hardest rock and metal out there. It’s a weekend of mutual admiration and appreciation, one where fans can discover new bands and check out favorites who may or may not have the opportunity to tour frequently. Justin Daniels of the New Jersey-based band Solace said in retrospect, "All the people were so enthusiastic and happy to be around each other, kind of a neo-hippie vibe but with COOL people and GOOD music. One of the best times I`ve had, ever."
To review each and every band in-depth would be close to impossible. Suffice it to say, each act was impressive in its own right, and there were no sub-par performances. But at the end of the festival, there were a handful of bands that truly shone and were the talk amongst the crowd.
Thursday, May 27, 2004
<>"The Emissions festival is the event we look forward to the most every year. At no other fest will you find such a genuine bunch of musicians and the fans who support them. It`s a thriving community and we hope to play it every year."
- Pelican
The festival got off to an inauspicious start, with the first band, Garfight, canceling at the last minute due to rumored vehicle troubles. With the majority (if not all) of the bands living on shoestring budgets, issues like that are unfortunately commonplace – at the 2003 Emissions, Sons of Otis had the same problem. Each year, there are a couple of bands not on the bill that bring their gear anyway, in the hopes that they can cover a hole in the schedule. But as the festival hadn’t even officially started, it was easier to have the second act, North Carolina’s Delicious, kick off the night with their instrumental, psychedelic jam rock. Delicious’ set may have consisted of the three songs on their self titled EP, but each song flowed from one to the next, making it seem like one long, fluid song that brought to mind early Pink Floyd with shades of Jimi Hendrix.
From there it was a constant flow of various genres of music. In addition to Delicious, Thursday alone offered complex math metal (Swarm of the Lotus), intricate prog-like instrumentals (Zebulon Pike), upbeat power rock with pop leanings (Puddy, who arguably had the best crowd reaction that night), and sludge-doom (Beaten Back to Pure).
A Thousand Knives of Fire delivered a set that seemed to rely more on guitarist Lee Stuart’s Halfway to Gone catalogue. There wasn’t a huge gulf between the two bands’ styles though – it’s mid-tempo Southern rock with an emphasis on crunch. Whether A Thousand Knives of Fire develop a more unique sound remains to be seen.
Headliner act Five Horse Johnson played their bar blues boogie, marred only by too much bass in the mix. Their latest album, The Last Men on Earth, fit in well with the rest of their songs, and they proved to be an upbeat ending to the first night.
Zebulon Pike
Live at Emissions from the Monolith VI
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A Thousand Knives of Fire
Live at Emissions from the Monolith VI
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Friday, May 28, 2004
<>"Emissions- a weekend of alcohol fuelled excellence, got to see a load of bands I only heard on CD beforehand, met a bunch of cool people, no assholes, fun to play at, and always a pleasure to see Wino."
- Orange Goblin
Friday offered an equally impressive variety of bands, starting with Starchild. This band’s been getting considerable buzz since the release of their self-titled album in late 2003, and their Sabbath-heavy doom translated well live. Following their set were Kylesa, who played thrash/hardcore-influenced metal, and RPG, who could’ve walked away with the “Best Band of Friday” award with their MC5 meets AC/DC rock had Solace not played.
While all of the bands played impressive sets, there were only a handful that were exceptionally good. And of that handful, Solace were at the top. Guitarist Tommy Southard described Emissions V as a "debacle of a set last year, with a fill-in drummer, fill-in singer, broken gear, and being as drunk as any band." At Emissions VI, they took the stage with a hunger to be the best. They did just that, delivering easily the finest performance out of all the bands. Solace pummeled the audience and left them slack-jawed in amazement afterwards.
Due to the intensity of Solace’s performance, the crowd wasn’t as receptive to next act Bongzilla, although Bongzilla did acquit themselves well with their down tuned rumble. Red Giant included a good number of new, unreleased songs, Tummler introduced their new bass player with a set that took the classic rock leanings of their two releases and added a more metal flavor, and Meatjack interjected a cover of "Black Sabbath" into their Neurosis meets the Melvins meets Mastodon set.
The evening ended with the legendary Unsane, who were described as brutal, professional, and "as good as any time I`d seen them over the past 10+ years," according to ‘Binghi owner and Emissions mastermind Greg Barrett.
Starchild
Live at Emissions from the Monolith VI
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Solace
Live at Emissions from the Monolith VI
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Bongzilla
Live at Emissions from the Monolith VI
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Red Giant
Live at Emissions from the Monolith VI
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Tummler
Live at Emissions from the Monolith VI
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Saturday, May 29, 2004
<>"I hope this thing keeps going and gets bigger and better each year (as it seems to have done already). It really is a flat-out rocking, good fucking time."
- Solace
On Saturday, the true test of will began, with the festival running from noon until after midnight.
While two of the members may have been in southern groove rockers Sixty Watt Shaman, The Mighty Nimbus were a heavy doom band that knew spitting blood always makes for a good stage show. Their set consisted of material from their unreleased debut, including a ferocious version of “Drinkin’ on a Pile of Skulls.” As they played, Alabama Thunderpussy guitarist Erik Larson, who recorded with the band, watched from the side.
And then came Buried at Sea. It started as a rumble from the floor as the band warmed up. And then the hum of distortion from their amps shook fillings and rattled and moved any object that was less than 50 lbs and wasn’t tied down. They’ve been called one of the heaviest bands currently out there, and for good reason. Their sound lived up to the band’s name – the wave of sound that they produced was oppressive. And seeing one of the singers deep throat his microphone before howling in a tortured, otherworldly scream was startling, scary, and altogether impressive.
Rwake’s take on prog thrash from the …And Justice for All era of Metallica had a bit more groove live than on record, giving them a sound that was more in line with bands like Sofa King Killer. And while Place of Skulls may not have had Wino (The Obsessed, Saint Vitus, The Hidden Hand) playing with them, as he had left the band shortly after the release of With Vision, the band didn’t suffer. Their classic doom sound was an excellent set, and served as a good segue way from the intricate, harsh playing of Rwake to the ‘70’s rock sound of New York’s The Brought Low.
The Brought Low’s set almost didn’t happen, thanks to a lack of equipment. But the weekend is a communal affair, and as was the case later with England’s Cudamantra, The Brought Low found gear courtesy of Rebreather and We’re All Gonna Die, a band that had traveled from Boston in the hopes of playing a vacated spot. Once set up, The Brought Low tore through a set of new material and songs from their self-titled debut. They weren’t the heaviest of bands, but they brought a good dynamic to the festival and were among Saturday’s better bands.
Party Dream have to be seen to be believed. Two men. One keyboard. One guitar. And enough flat out fucked up weirdness and depravity to fuel an orgy that would make Nero blush. More could be said, but they definitely fall into the indescribable category. It was a performance that left a few disgusted but more enthralled.
Rebreather’s “emo doom” brought the festival back to the heavy. The band canceled at the last minute the year before, but more than made up for that with their set at Emissions VI. They were followed by the instrumental act Stinking Lizaveta , who once again proved while they might be spotty on record, they’re unbeatable live.
The highlight of the set by Debris, Inc., a supergroup featuring former Saint Vitus member Dave Chandler, Ron Holzner (Trouble), Jimmy Bower (Superjoint Ritual, Down, and the classic EyeHateGod), was when Wino joined the band on stage for two blistering Saint Vitus covers. It was an awe-inspiring moment, especially since the majority of the other doom bands that played at Emissions VI were directly influenced by Saint Vitus.
From there Wino took the stage with his current band, The Hidden Hand. Like Stinking Lizaveta, the live band is completely different from the one on record. There’s a force to the band when on stage, and like all good power trios, the band operates as one. Hopefully they can capture the same energy and drive on their forthcoming sophomore effort.
With three bands left on Saturday’s bill, a good portion of the crowd was spending more time at the “beer garden,” the patio located towards the back of the building. Those who took a breather during Kung Pao missed a grindcore sludge set that included three guys clad entirely in denim, a beard solo during "Truckstop" (from their last release, Sheboygan), and the launching of a dozen or so trucker shirts into the audience. Apart from a couple of warm-up gigs in New York City the week prior to the show, the band had not played together in quite a while. It wasn’t apparent from the crowd.
Wedged between Kung Pao and headline act Alabama Thunderpussy, Poobah, a band that has been around since the ‘70’s, had a low-key reaction. The sound was classic stoner fuzz (not surprising, seeing how they’ve had decades to work on it), which at another time during the day would have gone over better.
Besides, it’s next to impossible to open up for Alabama Thunderpussy. With a new vocalist and a new album, ATP demanded every last ounce of energy from the crowd. Singer Johnny Weills brought a new level to the band, and the Fulton Hill material meshed perfectly with their earlier work. Some of the highlights were, from the new album, "Wage Slave," "Bear Baiting," as well as the speech Erik Larson gave at the beginning of their set about the communal aspects of the festival.
The Mighty Nimbus
Live at Emissions from the Monolith VI
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Buried at Sea
Live at Emissions from the Monolith VI
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Rebreather
Live at Emissions from the Monolith VI
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Debris, Inc.
Live at Emissions from the Monolith VI
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The Hidden Hand
Live at Emissions from the Monolith VI
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Sunday, May 30, 2004
<>"YOB`s experience at Emissions VI was beyond any expectation we could have had. The atmosphere was that of family and the devotion to the HEAVY from the bands and fans was staggering. YOB had the privilege to play to a full, appreciative audience and we were also able to shoot the shit with folks we had e-mailed with for years but never met in person until then. It was one of the greatest musical experiences we have ever been a part of and we hope to do it again next year if they will have us."
- YOB
Sunday started with Fiftywatthead (doom with huge riffs and intense vocals), the instrumental Suzukiton (which featured current and former members of ATP), and Trephine, who in addition to having complex, intricate songs and intense lead guitar work, also had the benefit of propane tanks (presumably empty) as percussion.
Trephine were gracious enough to lend their gear, with the exception of the propane tank, to England’s Cudamantra. They were probably the least known of all the acts on the bill, having released only one demo and a handful of songs on the two StonerRock.comp compilations, but drew in a sizable crowd before they finished their set. They were a solid mix of NWOBHM and Kyuss-influenced rock.
From there came Fistula, who have been described as "slow, plodding, doomy and really, really, heavy with fingernails on the chalk board styled vocals" (Christopher McEvoy, StonerRock.com). Their slow, sludgy grind went over well for fans of that style, but to most they were the band that played before YOB.
There are bands out there who are heralded as new and original, but with most acts, the claim is suspect and easily arguable. And then there are bands like YOB, who take doom and twist it into their own sound. Part of it is due to the vocals, which range from a possessed Geddy Lee-like shriek to a deep death metal growl. But it’s mostly the way they can take a riff and let it ride, finding riffs in the wave of distortion they put out. A good number of their lengthy songs were taken from their unreleased, forthcoming album, The Illusion of Motion, which stripped back some of the more indulgent aspects of their last release, Catharsis.
Going from the full-on doom of YOB to the shitkicker hillbilly rock of Boston’s Lamont could have been jarring, but the three-piece, having toured the U.S. with England’s Orange Goblin, were tight , road-tested, and full of energy. Their set was a mix of songs from their last release and songs from their tour only EP. "Hot Wire," off of Thunderboogie, had the crowd in a frenzy, and then they ended with their rendition of Metallica’s classic, "Whiplash." Like The Brought Low, Lamont were less metal and doom and more pure rock.
Dove, the new group featuring one of the members of Floor, played terse, quick songs, bursts of energy that squeezed in odd time signatures and impressive drumming. They were another one of the great unknown bands, and converted a good number to their cause.
For Pelican, "Emissions V was a real important event - it truly put us on the map in terms of getting our music out. Emissions VI was a little more stressful because we had new material and wanted to raise the bar a little more. It went over well." They were the breakout band at Emissions V, but for Emissions VI, they were an established band with a strong following. Pelican’s set was solid, touching upon both of their all-instrumental releases, but it could have been better had they included "The Woods," from their EP.
The stoner rock genre has splintered more and more over the years, to the point where it’s as absurd as any label a marketing flack could invent. But Dozer were stoner rock in its purest form. They had the fuzzed grooves, and songs that were catchy without being cloying. Closing with the lead track off of their last album, the festival could have ended there and had been a success.
Weedeater were easily the most evil band on the lineup. Dixie Dave’s voice was a fine growly rasp, and their mix of new material and songs from 16 Tons created a sea of sludge grooves. It’s not as apparent as on record, but live the band swings. Their newer material was a bit faster in tempo, and should make for a promising release once they land a label.
Finally came Orange Goblin. Stripped down to a four piece, they’ve gone from a stoner doom sound to biker metal that’s worthy of a Motorhead comparison. Because of this, their set leaned heavily towards their last two albums, although they did include classics like "Blue Snow" and "Quincy the Pig Boy." Ben Ward was once best described as "a mountain giant who has come down to throw boulders at the little people," and looming over a physically decimated but still appreciative and energetic audience, crushing beer cans against his head, he was the pure embodiment of heavy metal excess.
Fiftywatthead
Live at Emissions from the Monolith VI
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Cudamantra
Live at Emissions from the Monolith VI
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Lamont
Live at Emissions from the Monolith VI
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Pelican
Live at Emissions from the Monolith VI
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Dozer
Live at Emissions from the Monolith VI
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Orange Goblin
Live at Emissions from the Monolith VI
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It was a fitting end to an exceptional weekend. As people limped back to their respective homes and hotels, it was plain to see that while Youngstown the city may be on a downswing, the good, pure, heavy rock and metal that coalesces within it once a year is not only alive but getting better and growing stronger.
<>"As always, thank you Ohio."
- The Brought Low
- John Pegoraro
