Megadeth and Fear Factory LIVE in New Jersey

Megadeth and Fear Factory
Live in NJ on 11/29/13 at The Wellmont Theater
Reviewed by Rob Acocella
RATING 4/5


Megadeth and Fear Factory are two of my favorite bands, especially to see live, so when I saw they were on a bill together I was really excited. To make it even better, they were playing a few towns over from me in my home state of NJ, so I didn't need to pay a bunch extra in tolls and parking to go into New York City to see them. (Side note: contrary to popular belief, people who live in NJ don't necessarily love, or even like, traveling into NYC.)

I hate to say it, but the show was a little disappointing, which was no fault of either band, I might add. Fear Factory has always had one of the most energetic live shows with some of the craziest crowds I've been witness to. The energy just wasn't there that night. The band was full of pep and sounded great, but you could tell by the way Burton C. Bell was talking to the crowd that even he could sense that they just weren't giving the same energy back. He made multiple references to how the crowd seemed sleepy, and blamed it on the fact that the day before was Thanksgiving and everyone "must have eaten too much shit, too much turkey." He was most likely right, as everyone looked like they were still in tryptophan comas. This was also the first time I'd ever seen Fear Factory as an opening or support act, aside from that one time they were on Gigantour after Transgression came out. I was completely not expecting such a short set, but I can't complain about the song choices, to be honest. They opened with the obvious choice: the title track from their most recent album The Industrialist, and from there it was a 7-song barrage of oldies but goodies made up of "Shock," "Edgecrusher," "Damaged," "What Will Become?," "Demanufacture," "Self Bias Resistor," and, of course, they closed with "Replica." The band deserves 5 stars for their energy, song choices, and their performance, but the crowd dragged down the whole mood. It's a double-edged sword because I normally love Fear Factory shows but complain about the audience because they're too rowdy and obnoxious, and this time I'm complaining because it's like they didn't even care that the band was there.







Headliners Megadeth need no introduction. From the second the video screens turn on and "Prince of Darkness" starts pumping through the speakers, you know you're going to be in for a great show.  Being one of the photographers shooting the show, I'm right upfront for the first 3 songs of the set, so I get to hear what the band hears, which is why when they opened with "Hangar 18," I was confused as to why Dave wasn't singing when he was supposed to be. Until I looked up and realized he was! Whoever was running sound for this show really must have phoned it in that night. Couldn't hear vocals in the monitors at all for the first 3 songs, and when I left the photo pit to go to the back of the room to watch the rest of the show, I realized that the vocals were mixed terribly. Not only were they pretty low compared to the music, but the quality of the sound was really bad, and you couldn't make out a word Dave was saying. It wasn't Dave having a bad night either, because even between songs when he'd talk to the crowd, you still could hardly make out any words. As the show went on, the venue, or the soundguy, or whoever was at fault, pretty much ruined the show. The sound was terrible, and by terrible, I mean completely awful. The guitar tones were way too thin most of the time, and David Ellefson's bass was almost completely lost. The worst part was at the beginning of "Peace Sells" when David switched to his new signature Kelly Bird bass, which, as a bass player and lifelong fan of Ellefon's, I was very excited to finally hear live. The sound was so bad it sounded like he was playing a shoebox with rubber bands around it.

Here's the thing: I'm not taking points away from the band for any of this. I know for a fact that they do not sound like this normally. I honestly feel like the venue cared more about volume than clarity of the mix. If I'm all the way at the back of the venue, away from the speakers, my ears should not be numb when I leave as though I was standing in the front row the whole night. I have seen variations on this setlist numerous times now since Ellefson's return to the band and not once have they had a bad night. There are, however, two things that I'm slightly disappointed with: 1) it was Black Friday and they did not play "Good Mourning/Black Friday," which, to me, just seemed like an appropriate song to play, and 2) the only new song I've heard live since Super Collider came out has been "Kingmaker." While I know it's the big single from the album, there are other tracks on there that really should get the live treatment.

Overall, the show wasn't bad as far as Metal shows go. It's just very disappointing that a venue that was recently renovated would have such an awful sound for such a huge band. For a complete setlist for Megadeth, check it out HERE.







For more photos from this show and others, visit DIGImmortal Photo.

Gigantour 2013 in NYC

Gigantour 2013 (Megadeth, Black Label Society, Newsted)
Live in New York City
Reviewed by Rob Acocella

Rating: 4/5

When Dave Mustaine announced he was putting together the 2013 incarnation of Gigantour, my ears instantly perked up to see who would be on the bill. Known for great lineups, I was eagerly awaiting the announcement. The first time I heard that Black Label Society and Newsted would be on the bill, I knew I had to be there.

The New York City show had been broken up into two separate nights rather than one all-day festival, and from what I understand, it was the only stop on the tour that was managed that way. Unfortunately, the first night, which was supposed to feature Hellyeah and Device, had been cancelled.

Anyone who knows me from when Paragon first started knows I've always been a huge fan of Zakk Wylde's work, as well as Megadeth, and if you came up on Metal music beginning with post-Cliff Burton Metallica, you know it's been way too long since Jason Newsted got on stage and performed.

(Clicking the photos below will take you to full galleries of each band's performance.)



The first band of the night was Newsted, and what a great show he put on. I had not yet had the chance to hear his new music, so I wasn't totally sure what to expect. If you had ever seen the concert footage of Metallica's Binge and Purge, you know Jason is well-known for lending his vocals to live versions of "Whiplash." After a full set of all new, original material, true to what I had hoped, they covered the Metallica classic at the end of the set. I was surprised to see Mike Mushok of Staind performing with Jason, as I hadn't heard the announcement that he would be joining the band. Say what you will about Staind, but Mike is one hell of a guitar player and has a great stage presence when performing.



Black Label Society played a great set with a good balance of mid-career and new material. Zakk shreds his guitars like only Zakk can. The only thing I have been critical of over the years has been his singing voice. He had been doing backing vocals and harmonies for Ozzy for so long that his previously gruff, masculine voice has turned into a higher-pitch whine. No, I'm not a fan of the way he started singing on anything after 1919 Eternal. That's not to say that he has put out bad music since then, I just wish he'd sing like he used to on Stronger Than Death. The unfortunate thing is that it sounds even worse live. Enough about Zakk's voice though, because what people really go to see BLS for is the playing, and there was lots of great playing that night. Zakk and Nick Catanese have always locked in real tight and, together, they create one big wall of guitar sound. J.D. is a monster of a bass player and even tosses in some Funk flavor when playing these songs live. Overall, it was a great performance, but I wish I could have heard a few of my favorites from the first two albums as well. I'm not picky, though. I'll go see Zakk play any chance I get because I know it will always be a great show.



Finally, the band everyone was waiting for, Megadeth, took the stage and opened with "Trust." I have to be honest, I was expecting more songs from Supercollider than only two, especially since one of those two songs are a cover. I was happy to hear "Kingmaker," as I've already said in my review of the album that it would have been a better choice for a first single over the title track. I just think that something like "Forget To Remember" or "The Beginning of Sorrow" would have been a better choice than "Cold Sweat." I did like the cover of "Cold Sweat" on the album, but if you're out promoting the new record, I would have expected only original tunes in the set list, at least for the fist time out. It was great to hear "Wake Up Dead," "Darkest Hour," and "Architecture of Aggression," in addition to the regular live favorites like "Hangar 18," "She Wolf," "Peace Sells," and "Holy Wars." The rhythm section of Ellefson and Drover has to be one of the tightest I've seen live, almost ever, and the scorching rhythm/lead change-offs between Mustaine and Broderick will give you whiplash. I've never seen a bad Megadeth show, and this continued that streak.

Even though this wasn't the full Gigantour lineup, I give this mini-Gigantour a solid 4/5 only because of my strong feelings on certain setlist choices. Performance-wise, though, it was flawless. Click here for a complete gallery of photos from the event.

Megadeth, "Super Collider"

Megadeth
Super Collider
Reviewed by: Rob Acocella

By this point in my life, I think I'm finally able to use the term "lifelong fan" without worrying about how I didn't know about the band when I was 5 and technically it hasn't been my whole life. I've been a fan of this band ever since I became a fan of Metal back in junior high, and I've stuck by them through all the highs and lows since. And, like every lifelong Megadeth fan, I was curious to see how they'd follow up 2011's TH1RT3EN.

Super Collider opens with what you would think would be the obvious single, "Kingmaker." While it didn't make it as the first single, I can tell that this song will be a big hit in the live set, as it's one of the few anthemic tracks on the album. It's got a classic Megadeth vibe with a more modern personality. The second track is the title track and lead-off single. I have to be honest and say that when they previewed this track online I thought it was a very bad sign of things to come, but it's a grower, and now that I've heard it a few times, I don't mind it as much. It's just odd for Megadeth to have a title track that winds up being one of the less aggressive songs on the album. It honestly feels like Dave decided to try writing a Classic Rock tune with this one. Considering how long the band has been around (this is NOT an age joke, by the way) it makes sense to put out at least one track that could possibly appeal to another range of radio stations to get more airplay. Nothing wrong with doing that, and it's still a good song if you're open enough to the fact that they're not going to be putting out a second recording of Killing Is My Business any time soon.

"Burn!" and "Built For War" aren't bad songs, but I feel they're just the run-of-the-mill album filler. They have their place on here, but aren't really standout tracks. "Off The Edge" and "Dance In The Rain" are reminiscent of World Needs a Hero and the sound the band went for on that album. "Dance In The Rain," in particular, is, lyrically, one of my favorite songs on here, focusing on the plight of a middle-class worker struggling to get by in an economy that doesn't allow one to thrive. And, as you could expect, there is the expected social and political commentary from Dave on this one.

"Beginning of Sorrow" is another strong track and an obvious favorite with an awesome bass intro and bitter, brooding lyrics about an unwanted teen pregnancy. At this point in the album, you can imagine that the listener has already picked up on the vast array of Megadeth flavors peppered in. But if you're anything like me, when you get to "The Blackest Crow," you're first thought will be "...fucking banjo?!" Believe me when I say this, give it a chance, because even though the intro is deceiving, the ganjo (not a typo, ganjo is an actual instrument, apparently) actually fits this dark song pretty well.

"Forget to Remember" picks up the mood again with a more lively energy and plenty of radio-friendly hooks, making it a great Rock song, if not slightly depressing, as the song is about a battle with Alzheimer's Disease. The Jazz style jam that introduces "Don't Turn Your Back" quickly slides into a pulsing riff with double bass drums with a vibe that could have easily put this song on Cryptic Writings. The album then closes strongly with a cover of Thin Lizzy's "Cold Sweat" that is done pretty true to the original, if not a good bit heavier in classic Megadeth fashion.

Super Collider is a collection of songs that covers a gamut of style ranges for the band, and provides some thought-provoking messages. It's a solid follow-up to TH1RT3EN and, even though some songs may need to grow on some people, I feel it will ultimately earn its place among some of the band's best recordings. The musicianship, as always, needs no description. If you don't already know what a talented lineup this is, then I question why you're even reading this.

Rating: 4/5

Megadeth, "TH1RT3EN"

Megadeth
TH1RT3EN
Reviewed by Rob Acocella
Rating: 5/5




Megadeth are back, and this time it's BIG. Not only is this their thirteenth studio album, but it's also the return of David Ellefson to the band. David has always been such a huge component of Megadeth's sound that the albums without him really fell slightly flat for me. I may be a bit biased, being a a bass player myself, but without David it just wasn't complete.

That said, it's not just enough to have the correct lineup, you have to also have great songs and there is no shortage of them on this album. "Sudden Death" leads it off, and is a familiar track for anyone who has been keeping up with the world of Megadeth, as it was included in a Guitar Hero installment, as well as getting released as a single back in 2010, and is the first studio recording of Ellefson with the band since 2002. It's not the only song that will sound familiar to die-hard fans of the band. "Black Swan", "Millennium of the Blind", and "New World Order" are also a part of the Megadeth legacy and go back different spans of time in each instance.

"Public Enemy No. 1" is one of my favorite tracks right alongside "New World Order" "Deadly Nightshade" and "Fast Lane". Personally, with all the fast, crushing riffs, and especially the reborn older material that has finally received a proper release to the public, this is one of the most perfect Megadeth albums to date. I'm from the school of people that thought Rust In Peace was their masterpiece, and with TH1RT3EN being released right on the heels of the anniversary of Rust, it's only fitting for it to be such a powerhouse of  a record.