Sounds of the Underground 2005

All it takes to clear my mind, reaffirm how much I truly enjoy music, satisfy my desire to hang with fellow fans, and make me happy is a good rock/metal show. And wow I am now in a good mood! I have returned back to Iowa refreshed after seeing probably the best festival this summer, namely The Sounds of the Underground Tour. An array of talented bands, low ticket prices, and an all day break from work or summer boredom has left a few thousand enthusiastic concert goers euphoric. The just over 10 hour day of musical madness revealed not only a spectacular disarray of sounds, but also an incredible horde of people cheering, singing, and chanting along to band after band while withstanding the mid July heat. The respect shown for favorite acts as well as those perhaps unfamiliar to some was exciting. It made me smile to see the union of people involved in the heavy and aggressive, melodic, and moving performances by the diverse group of bands. Minus corporate sponsor banners, booths, and subliminal advertising messages everywhere as are present at other summer festivals, the show had a welcomed authentic feeling. Exposure, the main goal for bands on this tour, could not have been more constructive. A revitalizing spirit was present in Chicago amid the authentic, fast, loud, rhythmic, and vulgar aspects of the day.

“GWWWWWWWAAAAAAAAAAARRRRRRRRRRRR!” a deep voice in the crowd roared as the elaborate stage props were precisely put in place. The monstrosity called GWAR was highly anticipated by the crowd. A mix of GWAR show veterans and others who would be seeing GWAR for the first time, myself included, waited wondering what wild antics the band may have in store. On stage they marched, one after another, in their dreadful attire.

The disgusting yet humorous, controversial, and insane GWAR stage show had everyone’s attention. Garb with over exaggerated body parts, weaponry, and blood soaked flesh exposed the band’s premise. Fake blood spewing every which way, mostly on the audience, was a theatrical mess. The audience became completely drenched in red along with band members after a prominent world figure was sacrificed on stage, his head cut off. From his remaining body spewed the stream of red and it kept coming and coming and coming along with unrelenting vocal growls and heavy guitar riffs. With the 20 year anniversary of GWAR soon approaching the band continues to make waves with their heavy sounds and sticky residue.

The mighty Opeth. One of the major highlights of the day was hearing the Swedish metal band perform its emotional rollercoaster of a set. Wow, it was powerful. The beauty brought by commanding guitar melodies was the most mesmerizing feeling. I found myself unable to move during much of the set, lost in the sentiment. The rivaling melodies and growls of vocalist Mikael Åkerfeldt are difficult to match. The focused guitar playing, outstanding beats, and complimenting live keyboards are incredible.

Revealing ultimate control on stage, the band’s stage presence further enhanced the aura created by the music. The comfortable live display was completely focused. Soft measures intertwined with pounding double bass and hard guitar riffs created a diabolical gentleness. Smiles from Åkerfeldt between songs were, well, touching and exposed the commendable good nature and commonness of the band members. The epic Opeth sounds were completely impressive live and have ingrained a lasting impression.

The multifaceted sounds of Clutch – a funky, metal, bluesy, gospel, riff-based venture – were purely poignant. Formed way back in 1991, the band currently has over 100 songs in their catalog and thus is musically unpredictable live. On tour in support of their new album entitled Robot Hive/Exodus, Clutch began their amazing and incredibly moving set, both in the figurative and literal sense, with the song “10001110101” – one of my favorites off of the new record. Right away the energy flowed in rhythmic bliss and with it rhythmic crowd movement. It was virtually impossible to stand still during the set. The beats were addicting and guitar riffs fluid. No one around me was standing still, some more into it than others. Swaying or dancing or singing along, the music and its effect on the crowd were extraordinary. Clutch has been acclaimed by an underground following for quite some time. Though the faithful following appeared to be as alive as ever in Chicago a new generation of younger fans seems to have been received as well.

Supporting their release Ashes of the Wake, my album of the year last year in 2004, it is always a pleasure to see Virginia’s Lamb of God. Headliners of the tour, Lamb of God had a presence about them that was commanding. Quick tempos, sporadic guitar solos, and continuous growls from vocalist Randy Blythe were aggressive and crowd pleasers. Blythe moved rapidly across the stage, furiously focused while fellow band mates show their paralleled aggression. Now my third time seeing the band live I must admit that though I was thrilled to again see them, I was somewhat disappointed in the set. Each time I have seen them now, well minus the Ozzfest 2004 performance perhaps which was before the album was released, the order of songs has been almost identical. The set began with the Ashes of the Wake album opener “Laid to Rest” followed by consecutive tracks on the album “Hourglass” and my personal favorite “Now You’ve Got Something to Die For.” Soon after followed “Ruin,” a song off the prior Lamb of God album called As the Palaces Burn. Though it would be a travesty for the band not to play these songs, the order in which they were played was much too predictable. The experience was yet enjoyable and I will see Lamb of God anytime, any place.

But the day was not exclusive to the mentioned bands. Acts like Chimaira showed tons of energy. While standing in the back of the audience it was amazing to see the crowd involvement from front to back. Not even a broken guitar string mid song could slow down the band; they did not skip a beat.

Poison the Well, whose live show I had greatly anticipated, unfortunately did not prove their full capacity at this show. Perhaps due to following the amazement of Clutch, the band did not hold up as strong a performance as I had expected or will expect in the future.

High on Fire, a band who was to play earlier in the day but due to undisclosed circumstances got bumped to a spot among the headliners, was a very rock band of sorts and put on a very good show. An added feature for the band, due to being immersed in a headlining position, was that a light show accompanied the set adding a gust of flare.

Other notable performances included those of Unearth, Norma Jean, Everytime I Die, the one and only Strapping Young Lad, DevilDriver, Throwdown, A Life Once Lost, From Autumn to Ashes, All That Remains, Madball, and Terror.