Here are the bands and some highlights:
Balistica
Balistica were the first band of the evening and were easily the most eccentric. Smartly dressed in black shirts with a single bright pink letter (and for their drummer, a luchadore mask), the band tore through their set of alternative dance rock mixed with hint of Latin and funk influences. Sergio, lead vocalist and sometimes bassist, was clearly the one to watch as he shook and leaped and danced across the stage, as if possessed by the music(or perhaps, life itself). At set’s end he shared an explosive rap duet with another member of the band who apparently watched the majority of the set with the crowd.
Deimos
When I made my way to the main stage, I was looking forward to Deimos, the first metal band of the evening. I first heard their demo from an old roommate of mine and was immediately impressed with their attempt and success to play heavy metal, but with focus and class. Throughout their performance, there was enough distortion to rip your head off. But Deimos intricately and cleanly played through each song with an emphasis on feel and song structure. Singer/guitarist Steve Fernandez had a distinctive snarl to his voice that reminded me a lot of Kreator main man Mille Petrozza.
Matt Mayer of Deimos
Jeff from Hatchetwork
Hatchetwork was unashamedly and unabashedly a death metal band. Lots to chew on here if you’re a fan of the genre: heavier-than-a-drowning-man guitar riffing, manic drumming (lots and lots of double bass), coupled with Phil Anselmo-type vocal barks with the occasional growl for good measure. Proving that they’re actually trying to be musical about the whole ordeal, “Subject to Hate” made creative use of speedy drum beats and guitar string scrapes high on the guitar neck along with the conventional face stomp.
Jimmie of Hatchetwork
Closedhandpromise
Closedhandpromise was also upfront and in-your-face, but in a different way altogether. At the base, they could be described as post-hardcore punk, using plenty of jackhammer guitar and drum syncropation, mid-song breakdowns, and drill seargent vocal barks. However, what was the most impressive about this Austin-based band was their use of infectious choruses, turntable scratches and effects along with touches of Korn-style guitar weirdness. "Outer Space is A Lonely Place," off of their untitled EP was my favorite song of the set, with its chorus reminding me of Incubus with just a little more bombast and propulsion.
Xavier (Closedhandpromise)
Sintense
I soon made my way back to the main stage, just in time to catch Sintense in full flight. Making easy work of the thirty-minutes allotted to all of the bands on the main stage, they took the time to try out a new song, played some of their lighter material, and tossed in a few of their STP/Creed/Tool-inspired rockers for good measure. As Rowan mentioned in her review of a Sintense show, vocalist Dexter never stands still, working the stage and the crowd like a real pro.
Bernabe and Ike of Sintense
War Within
Austin’s War Within wasted little time in cheerfully removing faces with their abrasive set of extreme and molten metal. It was an excellent mix of styles that included the precision of thrash, the speed and mania of death metal, and the mid-song breakdowns and vocal barks of hardcore punk. Maybe a faster, more out-of-control Hatebreed? I was especially impressed with sole six-stringer, Gabriel, whose performance was a study in metal guitar wizardry, utilizing a variety of techniques and tricks that kept the listener on edge.
Gabriel of War Within
Ignitor
On the main stage, Austin’s very own defenders of the metal faith, Ignitor, wasted little time in overwhelming the crowd with their set of traditional power metal. With an image and sound deeply rooted in eighties metal demigods such as Iron Maiden, Judas Priest, Accept and minions of others, vocalist Erika led the band and the crowd through thirty minutes of fist-pumping, head banging metal anthems. However, they were more than a mere nostalgia act as they accentuated their sound with spurts of speed metal and double bass, making for a sound that was classic but modern.
Batlord of Ignitor
Tony of Killamora
Even though they performed in their street clothes and were far from the fastest band of the evening, Kiallamora had a sound and image that was downright menacing. The vocalist, Tony attacked the mike as the band followed suit, playing each note like it was their last. By set’s end they no doubt won the crowd over, proving that sometimes all you need is attitude to get your point across.
Jeff of Killamora
Hazik
Next on the main stage was Hazik from San Antonio. Watching their thirty-minute set, I decided that they were indeed a metal band, but in a way that was different from everyone else that played that evening. Sure, there were plenty of distorted guitars, jackhammer rhythms, and double bass drumming. But I noticed that as opposed to pummeling you into submission, the music focused more on groove and dynamics, more fluid in a Roots-era Sepultura kind of way. I also heard a slight tinge of fusion/jazz over everything as well (the Mudvayne influence, perhaps?).
Roger and Ceasar of Hazik
Course of Ruin
Course of Ruin was another metal band that opted to slow things down and turn up the intensity on an emotional level. Much like the new wave of American metal bands (Shadows Fall, Killswitch Engage, Lamb of God, etc), the songs were painstakingly heavy but not painstakingly fast, allowing the songs a little more room to breathe. Guitarists Roland and Walter worked in tandem with the rhythm section, laying these dense and intense grooves while vocalist Shaun switched from hardcore barks to actual singing with ease.
Walter from Course of Ruin
Quartershackle
Quartershackle was a welcome break from what had been a primarily metal and hardcore event. In fact, the band offered a sound that was not unlike what you would expect to hear on modern rock radio: big guitar and big choruses coupled with the soulful singing of vocalist Joseph. On a song like “Sinkhole” they proved that they are very capable of crafting the perfect modern rock single. However, I liked them best when they branched out into a heavier, more jam-oriented approach to rocking out a stage.
Blaine of Quartershackle
Tim and Henry of Dism
Much like Quartershackle, Dism played a sound that was true to modern rock radio. However, where Quartershackle delved into jam-band territory, Dism preferred to keep things straight and to the point, and perhaps heavier. As far as how they sounded, I would say that the band has a lot of modern and radio rock influences including Tool, Metallica, and Godsmack; Henry had a great a voice that sounded to me like a cross between James Hetfield and Maynard James Keenan. Unfortunately, an argument within the audience (not the band’s fault) broke out which became a distraction and took the rest of set time (and beyond) to resolve. And for some reason, Mitch threw off his bass before the end of the last song--perhaps a gear malfunction?
Mitch of Dism
Scott of Curse the Form
Curse the Form were the perfect band to close the evening. Since their inception in 2004, they have earned for themselves a very loyal and dedicated fanbase, music listeners and musicians alike, as was evidenced by the number of people who arrived/stuck around to see their show. From the beginning of their set to the end, they unleashed a maelstrom of metal on metal fury with lots of twists, turns, and time changes that keep the listener guessing. And, somehow, the band managed to anchor everything with an irresistible groove courtesy of Gaston (drums) and Frances (bass). One of Scott’s main vocal influences, Wayne Static of Static-X could very well be an accurate base from which to describe his vocal delievery and approach. Launching tirades against what seemed to be everyone and everything, he seemed to be getting off on the music just as much as the crowd. Like I said earlier, the perfect band to close the evening.
Frances and Joey of Curse the Form