CVLT Nation HQ just got home from a few weeks up in Vancouver, BC and one of the highlights of the trip was the sweet fucking Weedeater show we went to at the Electric Owl! The neighborhood was right on point for a Weedeater show – sandwiched between junkies and drunks and across the street from punks. The crowd was early to catch locals Hoopsnake, who exploded with sound, bass and drums reverberating through the room and leaving us feeling like we were definitely going to be deaf at the end of the night. Hoopsnake are a part of the underground heavy revival happening in Vancouver right now, and are a promising look into Vancouver’s current and future impact on metal. Next up were local legends Bison B.C., who had packed the place by 10:30pm which is pretty unheard of in this city. They absolutely crushed our minds and eardrums, and justified the crowd’s early presence 100%. The drummer’s muse is definitely Animal, and he led the band with crazy abandon and wild thrashing. By the time Weedeater got up on stage, the crowd was primed, and so was Dixie as he slugged back what little was left of his bottle of Jack. With eyes askew, he led the band in their unique brand of sludgey Southern doom, but again their new drummer, Travis Owen (WHORES), was something of a focal point. Tossing his sticks and thrashing almost more wildly than Bison’s drummer, he laid down a pummeling beat and was highly entertaining at the same time. This one’s a keeper! Check out some amazing photos of this night taken by our Vancouver photographic homie Ted Reckoning…they will give you a better idea of the radness of this night than my words ever could!
This past April, a very special photography exhibit took place in Brussels entitled On Paraphotography: Uncertainty, The Uncanny, & The Occult. This show featured work from artists Tereza Zelenkova, Paulina Otylie Surys, Joel-Peter Witkin and Jeffrey Silverthorn, plus selected works from from the private collection of vintage dealer Brad Feuerhelm. Looking at these images reminds me of the intense female presence in the occult, the celebration of the feminine – probably what makes it so evil and threatening to the patriarchal organized religions. These images are hugely inspirational and will take you into the netherworlds. Check out the retrospective of images that we have gathered from Harlan B. Levey Projects.
Text and photos: Matthew Grant Anson
Those looking to up the punx on the 9th of July found themselves in a small community space on East Seventh Street, a space just a few blocks and several homeless people away from the Alameda exit off the 10 freeway. It’s across the street from a Greyhound station, surrounded by liquor stores, abandoned buildings, and junkyards. Inside, the floor was sticky from spilt 40s, the air was a healthy and humid mix of weed and B.O., and a sheen of sweat glistened on the walls from floor to ceiling. The only thing as stifling as the conditions was the overwhelming tr00ness of the punk throbbing through a surprisingly large Tuesday night crowd, all of whom came out for a host of local bands supporting midwest grinderrs Lt. Dan and Pizza Hi-Five.
The problem with such a crowd was it drew the attention of the liquor store next door, and soon after the female-fronted two-piece Happy Pill Trauma finished its ten minute set, several police officers showed up, forcing everyone outside. The crowd idled in front of the space and liquor store, ignoring the demands of the officers to disperse, either due to punk belligerence or because of a well known understanding of the law (this a public space, dude). Miraculously, against all odds, the owners were able to talk their way out of a shutdown, stressing the fact that the show wasn’t for profit. Their pleas nullified permit and zoning codes, and Lt. Dan and Pizza Hi-Five played in succession immediately after the crowd was let back in through the double doors, lest a group of less cooperative cops return.
Instead of cops, a hippie-ish white guy with a full on afro named Brandon from Detroit wandered into the space while waiting for his Greyhound, confused as to why a bunch of kids were in such a shitty area on a Tuesday. After some substances and sets from LxDxT, Cave State, Malpractice Insurance, and BRUCExCAMPBELL, his questions were answered.
It’s ironic that in a time where we are literally saturated with media and information, our access to information is still controlled. Capturing accurate images of war and conflict today is very difficult, especially when the US Military is concerned. “Embedded” journalists are able to photograph public-friendly images of the endless American wars, in military regulated places and at military regulated times, but the days of being able to photograph or film at the scene of war crimes is over. The problem is, when people see the actual victims, they are less inclined to holler U-S-A! in blind patriotism, and more apt to question the necessity for such slaughter. In 1862, Matthew Brady exhibited Alexander Gardner and James Gibson’s photos of the Battle of Antietam for the American Civil War. 23,000 people were murdered in one day, September 17th, 1862, and the photographers captured the senseless slaughter to display to the American public in New York a few weeks later. Today, war is glorified in movies, TV and in print media, and images like these are kept away from the mainstream public as much as possible. Because seeing bodies strewn haphazardly across fields or children maimed by drone strikes begs the question – who is ordering these deaths, and why? And are we culpable, because they are carried out on our dime? Rest assured, it’s not for the reasons the government is encouraging us to believe and stand by. Below are some of Brady’s exhibits as well as a collection of other Civil War battlefield images.
There are many artists, usually great ones, who are able to push themselves to their limit to experience life and death for their art. Especially with death, many people feel extremely uncomfortable with its trappings – the pungent scent of decay, the multiple hues of flesh rotting, the insects who make bodies their homes – and it takes a true artists’ eye to see the beauty in these things. One such artist is famed American photographer Sally Mann, whose Body Farm series takes on the challenge of human decay as something to be experienced with a stunning poignance and not with disgust. She spent time wandering the acres of the University of Tennessee Anthropological Research Facility’s body farm, where approximately 40 corpses are left to the elements to decay as they will, as researchers note how environment, exposure, position and many other factors effect the rate of decomposition. Mann’s photos are a testament to her artistry – she is able to photograph a bloated corpse as if it was a reclining nude. She is able to capture the essential loneliness of death, a lifeless body sprawled on the forest floor, but I also get a sense of our becoming one with the decaying leaves and debris as our nutrients are pulled into the rich earth, feeding the life that thrives above and below each body. I admire her photography and I readily acknowledge her genius, but I have to say, I am thankful to admire from a distance, and not to experience the full smell and maggot-induced movement of the reality! Check out the full set of Sally Mann’s Body Farm below.
On June 25th, 2013, Eagle Twin came to the town of Porto, Portugal, to blow out eardrums at Armazém do Chá. Our resident photographer Jorge Silva was there to capture the small but mind-blowing show, and he brought us some rad photos of the event! It was cozy this time, but Eagle Twin played such a rad show no doubt a lot of people are planning to be at their next one! Check out Silva’s photo essay below!
On June 28th, 2013, our Canadian comrades in heavy, Nothing is Heavy, celebrated their first year promoting shows in Vancouver, BC, with an epic lineup featuring local legends Black Wizard, Hoopsnake, Tobeatic and Wiser Fool. Here’s wishing them many more years of bringing crushing bands to my hometown! Our photographer Ted Reckoning was on hand to capture some sick images of the show, and today we’d like to share them with you! So prepare to enter a world of sonic fucking damage…and make sure to head out to our Vancouver showcase this friday!
Source Huffington Post
These are the private photographs Adolf Hitler didn’t want anyone to see.
Taken by photographer Heinrich Hoffmann, the extraordinary pictures show Hitler rehearsing while listening to a recording of one of his own speeches. They were reportedly taken in 1925, soon after Hitler was released from a nine-month stint in prison during which he dictated his autobiography, Mein Kampf.
After seeing the photographs, Hitler requested that Hoffmann destroy the negatives, but he did not. They were published in his memoir, Hitler Was My Friend, which came out in 1955.
A couple days ago, Sean and I were walking through a stunning BC rainforest reflecting on the connection many metalheads feel to nature. As we looked around at the cycle of growth and decay that flourished around us, we talked about how a disdain or even hate for status quo human society goes hand in hand with a love for the natural world, because one exists at the expense of another. Nature also embraces death and decay because it is at the foundation of life itself, when many human belief systems and societies fear and hide from death and death imagery, all the while obsessing over it. That’s why I am so fascinated with artists who explore human decay, and create images that celebrate its beauty, even when it is instinctively ugly. Hermann Försterling is a painter and photographer whose images remind me of our inevitable demise, twisting our faces into masks of pain and covering our bodies in earth. His work is ugly in its corpselike celebration of the human body, but at the same time it is joyful, celebrating our place in nature and its cycle of life and death. He uses copper plate etching to create haunting imagery that is bathed in the greys and blacks of decomposition. Take a peek at one of his photographic collections below and make sure to explore his site for more.
Text and photos: Adele van Heerden
We arrived at Hellfest around four in the afternoon on the Thursday before bands started, exhausted, having travelled from London at four in the morning. After finding a spot in the masses of tents, our friendly French neighbours gave us beer and bade us welcome, even helping us to set up our tent. I had never heard of the festival before my boyfriend suggested we go, but upon arrival we were given a quick course on Hellfest history.
Apparently Hellfest had a long history of being attacked by right-wing conservatives for their supposedly demonic or satanic theme. Luckily it enjoyed continued support, despite large sponsors, such as Coca-Cola, dropping out because of the pressure.
This year seemed to be avidly supported by members of the whole family: I saw father and son enjoy acts such as Ihsahn and Immortal together, and absolutely no scorn between groups of people. Everyone was just there to dress up and have a good time, whether it be with their family or the people from another country they had just met an hour ago. I believe Hellfest also makes an important economic contribution to the town of Clisson, which embraces it in full: the town pharmacy played Metallica and everyone working in the shops that weekend wore Hellfest support shirts. I believe the local supermarket probably made more money than they would at Christmas!