All Photos & Text by Darryl Reid
“Well that was fucking insane”.
These are first words heard in the dead silence immediately after Toronto’s Column of heaven destroyed a local venue here in Ottawa and I have to say that this is the best description ever to describe their live show . It’s not often that a band can make a room erupt into total chaos the moment the first chord is rung out. Column of heaven did just that with their genre defying style of music that combines elements of power violence (what does that even mean anymore?), Hardcore and various styles of Metal. Live they are scary good with the aforementioned ability to turn a venue upside down. I’ve seen them twice these pictures are a mix of those two shows.
I rarely fear for my equipment (camera flash etc) in a pit: but during column of heaven I was convinced this was the show my camera would get destroyed (fortunately; only my knee and not my camera got fucked up-we have free healthcare so fucked up knee is cheaper than fucked up camera).
Along with Absolute, Kremlin, School Jerks, S.H.I.T and Column of heaven: Toronto is representing some insanely good punk these days.
Dive into their large selection of recordings.
As the President gets us all psyched up to commit more atrocities abroad, let’s reflect on the reality behind the lies. It’s regime vs. regime, and us citizens just get in the way. Our noble military will travel overseas to kill, maim and torture men, women and children at the behest of the world elite. And we will see photos of it, and do nothing. Again.
By: Andy Grundberg, American Scholar, January 1, 2005
In spring of 2004, the International Center of Photography in New York presented an exhibition called “War in Iraq: The Coordinates of Conflict”, featuring the work of James Nachtwey, Christopher Morris, Ron Haviv, and other veteran photojournalists. Apparently timed to mark the first anniversary of the Iraq conflict (the American invasion began March 19, 2003; President Bush triumphantly announced its end a month and a half later, on May 1), the show included most of the usual tropes of combat photography, from portraits of weary but determined foot soldiers to bloody corpses of the enemy. What was different about the pictures compared with traditional war photographs was that all had been shot with digital cameras.
The curators, Peter Howe and Edward Earle, spoke to this difference in the exhibition brochure:
This is an unprecedented moment in the history of photojournalism, and in our understanding of its role in the media. The war in Iraq demonstrates a dramatic change in the way news is gathered: the development of laptop computers, digital cameras, satellite phones, and micro recording devices has enabled the photographer to give viewers immediate, live access to the battlefield.
At the same time the exhibition was on view, however, a much more dramatic and profound change in the history of photojournalism was making itself felt in the corridors of power in Washington and soon thereafter in the press and across the nation. During the first two weeks of May, millions of Americans were exposed to pictures of the torture and abuse of Iraqi prisoners at Abu Ghraib prison, twenty miles west of Baghdad. The photographs, in color and from digital cameras (albeit with lower resolution than the professionals’ models), were taken by American soldiers complicit in the sexual humiliation, psychological terror, and physical injury of their charges, all of whom were prisoners of war or, in the less precise official description, detainees.
In Spetember 2009, photographer Frédéric Thiphagne of Les Mains Noires went to a mysterious and terrifying place – an abandone record factory, just two weeks before demolition. The scenes he captured are powerful and strike a chord with any music lover. To see piles of vinyl spewing out of their boxes and covers, like a landfill dedicated exclusively to records, is just too depressing for words. 7 inches and LPs creating a mountainous terrain of unlistened-to music. Hills of vinyl waiting to be crushed. And to top it all off, Thiphagne can’t give us any information about this place other than his photos. It’s gone now, decimated in preparation for it’s new habitants. Read what Thiphagne says about his pictures below…
Photographer: Milton Stille
Based in: Vancouver, BC
This is Converge, circa October, 2002, in Milan, Italy. I spent six hours on a train both ways to get to this show and back. I was completely unversed in anything photography at this point, I just brought the first digital camera I’d ever owned with me to the show. If you look to the left, you can see Kurt is playing his guitar in a chair. This is – from my understanding – because he had broken his wrist when the band got in a rather unfortunate van accident the previous day. A roadie helped him with some of the more technical parts of “The Saddest Day”, but none of this stopped the band from putting on one of the best and most intense shows I’ve ever been in attendance for. I don’t hesitate to make this statement more than ten years later.
All Photos & Text by Darryl Reid
The first time I ever saw Ottawa’s own spazz punk freaks Pregnancy Scares I had a mic stand thrown into my chest. It might have been the Mic stand or the fury of their live set but these guys left my head spinning. Pregnancy Scares play manic spazz out punk dripping with blown out feedback and gain set so high it’d make Nigel Tufnel jealous.
Consisting of members of the Steve Adamyk Band, Crusades, Male Nurse and other local bands; Pregnancy Scares have developed a strong following due largely to their bonkers live shows.
Check out their Tape and 7″ on Deranged records.
A lot of body modifications practiced in the West today have their roots in religious or cultural practices of Eastern peoples. Tattooing, piercing, filing teeth (ok maybe not donut heads) are all a part of the spiritual beliefs of old cultures from Asia, Africa and the Middle East. In fact, there are many religious ceremonies that still include body modification/mortification today, like the Buddhist Vegetarian festival in Phuket. This is no Christmas Nativity play, we’re talking piercing your face and body with skewers that have been used for that purpose for centuries. Today we’ve brought you a fascinating photo essay from photographer Michael Biach documenting the Sufi Dervish Nevruz ritual being practiced in Kosovo. Men and boys use decorative skewers to pierce their cheeks during the ceremony and stab themselves in the hip, with the sheik using a decorative tool to hammer it in further. Check out Biach’s beautiful photos of the dervishes below and also his description of the ceremony and its history.
Text and Photos by Matthew Grant Anson
There’s something special about Deafheaven, that much is clear. Regardless of the outlet (New York Times, anyone) that has lauded the band’s shoegaze-ish black metal (blackgaze is not a thing, okay), the band has made waves with their recorded and live work in equal amounts. Considering the band just played at the Echoplex in Los Angeles a few months ago, the uninitiated could be tempted to say their August 23rd show was a case of been-there-done-that. They would be wrong. While their earlier two-night showcase at the Echoplex was opening for Japanese sludge-droners Boris, the three band lineup preceding them last Friday was about as perfect a set up as possible.
The show began with Wife, the guitar/bass/effects only project comprised of Andrew Thomas and Touche Amore’s Nick Steinhardt. The two-man project stayed seated the entire set as they let their delay-laden riffs do the talking. Wife sounded like Have a Nice Life (if you enjoy shoegaze and enjoy feeling really depressed, they are worth your time) if that project only played post-rock, and the effect was captivating in the deft control of the atmosphere by the band. Aside from some misguided guest singing on the final song, the instrumental work was stunning. First acts can at times feel like more of an appetizer than an actual course of the musical meal, but Wife provided a legitimate opening for what was to come.
Following Wife was Wreck and Reference, the experimental noise two-piece that has steadily carved out a place for themselves in the realm of drone and doom. Both members were mic’d, with one behind a drum kit and the other equipped with some sort of bizarre electronic box covered in buttons and programmed with samples and the ability to produce devastating feedback. It was mesmerizing. Not only was the creation of the noise interesting to watch, but the actual sounds and faux-riffs at certain points approached straight-up amazing, leaving audience members with faces resembling the Barack Obama Not Bad meme. If the post-metal band Rosetta had switched to noise/drone, you would have W&R, and that is awesome.
Public execution, and execution in general, used to be pretty popular back in the day. Watching the government or military take someone’s life was a normal part of life, something you did with your family and friends. There were a few styles of execution that were universally popular – hanging, firing squad and beheading – but there were others that were more regional. Take garroting for example; this method of execution was popular mostly in Spain and France and some Spanish colonies. The convict would sit in a chair and have a metal collar tightened around his neck until he asphyxiated or his spine snapped. I think I would rather be shot. Garroting in public was abolished in Spain in 1897 after which it was only performed in prisons, and the last garroting of a Spanish prisoner was in 1974. I can’t help but think about the irony of some of these brutal deaths – that they were perpetrated by the very people and institutions who claim to be the judges of right and wrong. From these photos, you can see that there is a lot wrong with putting someone to death in these ways. Executions were often photographed after the invention of the camera; they were not closed off from the media for the most part, so many photos exist of the executions either during, in the moment of death or after death. Today we have collected a few from around the web for your viewing pleasure/disgust!
Guess what I have blasting through my speakers? Some dirty raw black metal with punk roaches crawling all over it! This sick sound happens to be one of my favorite bands, BONE AWL. Since I’m a total fanboy for some groups, FUCK YEAH BONE AWL is CVLT Nation’s favorite tumblr right now. Check this site out it’s full of collections from other people who dig the primitive sound of BONE AWL!
Text & All Photos by Adam Murray
Usually, at Five Star Bar, most or all of the band can fit on the smallish stage. The drummer gets wedged into the low-ceilinged drummer sandwich area near the back and the rest of the dudes stand up front and shred accordingly. For this show, the stage was utilized for holding a cute lil’ gigantic wall of amps.
On this night I was only able to catch Bottom Feeder, as I was coming from another gig, but I heard Ladybird were fantastic, and I KNOW Pigeonwing were.
Anyway, Bottom Feeder set up on the ground, their drummer below and in front of the amp wall as opposed to tucked away behind everything. It was taint-tickingly loud in there, but not in an unnecessary way. The low end trundled heavily, carrying everything else on it’s lumbering shoulders, but the drums were very still present, cutting through the sludge with cracks and splashes. And then you have guitars and vocals ripping and tearing on top of it all like feral dumpster cats.
I urge you to consume all the pics, videos and links in a voracious manner! Bottom Feeder rules, thanks Denmark!