Reviews
Baroness and Pallbearer (live review)
Baroness and Pallbearer (live review)
Cleveland House of Blues August 19th 2016
By: George Archibald
Friday night August 19th Cleveland, Ohio’s House of Blues played host to Baroness and Pallbearer. I arrived early to a scene of blue and white jerseys outside the venue, as the Toronto Blue Jays were about to take on the Cleveland Indians, and the ball park was right around the corner. As I made my way through a sea of blue, I got in line and spoke with several concert attendees. Some people spoke of their anticipation to see Baroness play, it has been some time since the band last came into town. One man I spoke with came all the way from Pittsburgh to catch this show since he was unable to see Baroness when they stopped earlier this year at Mr. Smalls Theater. He also told me a little about the opener Pallbearer, and how I was in for a treat seeing them live, as we made our way inside the venue.
The shows opener Pallbearer was quite a sight to see. This 4-piece band came out with a ton of energy as their bass player would move all over the stage, so much that his strap on his bass came off in the first song. It didn’t stop him from playing however, as this doom metal band which hails from Arkansas, had a sound that was a punch to the gut. The guitar and bass tone was so thick and rich, which unfortunately I think their recordings have that dialed back in the mix. Vocalist Brett Campbell, would trade lyrics off with bassist Joseph D. Rowland, as he would bounce between singing and playing guitar leads and solos throughout the set. The band set list included the songs The Ghost I Used to be, and Fear & Fury, before playing a new song this night. The band announced that they have finished recording their new album and that it would be a few months before its release. Pallbearer definitely left an impression as I was in awe of the thickness of their tone and how the leads cut right through, I would definitely recommend checking them out live if you have the chance.
Next up was Baroness, as everyone huddled in tight to catch every second of this band. Baroness was on the tail end of its American tour, and this would probably be the last time Cleveland would get to see the band before they drop some new material. The band came out in a blaze playing songs from the Purple, Yellow and Green Albums. They stuck to the hits mainly this night playing songs like Shock Me, March to the Sea, Morningstar, Chlorine &Wine, and Desperation Burns. The band even interacted with the crowd throughout the set as one woman kept shouting, “play Bullhead’s Psalms.” I was surprised as the band stuck to mainly newer material this night, which wasn’t the case when I saw them back in May, where they played a few songs off of the Blue record and Red album. The band even came back to play an encore for the crowd ending with Take My Bones Away. Baroness put on a spectacular show that was nearly flawless throughout. If you have yet to see this band you are truly missing out.
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Resistor at Preserving Underground: Knuckle-Dragging, Wika-Wika Fury
New Kensington, PA – By the time Resistor took the stage at Preserving Underground on April 30th, the room had already been baptized. Inferious had spent their opening slot proving why they belong on this tour and Monochromatic Black followed suit. The crowd: sweaty, tired, and grinning stood shoulder to shoulder in the basement of a converted church, ready for the Long Island quintet to deliver the main course. They did not disappoint!
The “Knuckle Dragging Wika Wika Core” Arrives
For the uninitiated, a quick vocabulary lesson is needed. Resistor doesn’t just play heavy music; they’ve patented their own subgenre. They call it “knuckle dragging wika wika core”. The “knuckle dragging” part is the downtuned, beatdown-ready hardcore riffage that makes you want to punch a hole in the nearest wall. The “wika wika” is the turntable wizardry of Anthony Arce, a Manhattan-based DJ whose scratches and samples add an extra layer of chaotic texture to the band’s already ferocious sound.
And on this night, in the intimate confines of Preserving Underground, that sound hit like a freight train with no brakes. The band made up of Anthony Grambo on vocals, Anthony Conti on guitar, Ian Schneider on bass, Peter Smith on drums, and Arce on turntables launched into their set with the kind of immediate aggression that separates headliners from openers. Resistor brought a sharp, more hardcore-infused edge. The bass drum kicks vibrated your sternum. The turntable scratches cut through the mix like a knife. And Grambo? Clad in Selena t-shirt didn’t just sing into the mic, he seemed to be wrestling it for control.
A Set Built for 2026
The band had good reason to be confident. Just over a month before, Resistor released their debut full-length album, BITE THIS!. Produced by Randy LeBoeuf (Kublai Khan TX, The Acacia Strain), the 30-minute, 10-track assault has been described as “an aggressive trip with a hardcore ethos” that blends nu-metal’s cocky swagger with 21st-century heaviness.
Setlist highlights came fast and furious. Opening with “BORN 2 BREAK,” the band immediately established the night’s tone: pummeling, unapologetic, and laced with just enough turntable chaos to keep things unpredictable. “L33CH” followed, with Arce’s scratches adding an almost industrial layer of noise to the already dense wall of guitar. By the time they hit “DEAD SOUL” a track the band has called “the perfect entry point” to the album the pit had fully reignited.
The Secret Weapon: Anthony Arce
What sets Resistor apart from every other heavy band on this tour is the turntable. In 2026, seeing a DJ on stage at a hardcore show feels almost nostalgic. A throwback to the nu-metal heyday of the late ’90s and early 2000s. But Resistor doesn’t use the turntable as a gimmick. Arce’s contributions are woven directly into the fabric of their sound, from the extra chaos on “PETTY FUCK” to the almost Deftones-esque atmosphere of “FROZEN AT 29”.
Live, those moments hit even harder. During “LOVE SONG (BULLSH!T),” Arce dropped into a scratch solo of sorts, that had the crowd throwing horns and nodding in appreciation. It was a small moment, but it underscored something essential about Resistor: they’re not just heavy for the sake of being heavy. They’re heavy with purpose, texture, and a genuine understanding of how different elements can collide to create something new.
Closing Strong
By the time they reached the set’s final tracks “XXXL” and “FEEL LIKE SHIT” the room was a mess of flying bodies, raised voices, and genuine appreciation. The band didn’t overstay their welcome. They played, they destroyed, and they stepped back, leaving the crowd to catch their breath before Filth’s headlining set.
Verdict
Resistor proved exactly why they were chosen for this 10th-anniversary tour. With a new album that’s been called “nothing short of an aggressive trip” and a live show that delivers every ounce of that aggression, they’ve positioned themselves as one of the most interesting heavy bands coming out of the New York scene. The “knuckle dragging wika wika core” label might sound like a joke, but the music is anything but.
Catch them on the remaining dates of the Back To Tha Gutta tour if you can. Just bring earplugs. And maybe a change of shirt.
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Review by Josh Drespling
This album is fresh and filthy. A heaping serving of nasty bass, thunderous guitar, and intense angry vocal mix with DJ scratching and slammin’ grooves that congeal to form a monstrous cyclops. The monster that is Resistor not only pays homage to the musical past, but they also forcefully migrate the genre with what they have christened “knuckle-dragging wika wika core.”
When asked about the album, the Long Island, NY, quintet’s bassist, Ian Schneider, said, “I want everybody who listens to it to have a stank face for as close to 29 minutes as possible.” And the ten-track album delivers grooves that hit with enough tectonic force to do just that.
The follow-up to the band’s 2023 EP So It Begins and their 2025 EP HEADCASE opens with the track “Born 2 Break.” The first sound is the crackle and feedback of a loose 1/4-inch guitar cord being plugged in, followed by four strums of a dissident yet thin guitar sound. This is quickly obliterated by a pummeling disturbance that could easily make the head of an uninitiated listener explode from pure brute force. Pick drags, guttural screams, and a bombastic rhythm destroy your speakers within the first fifteen seconds of the album. Led by a nasty bass riff bathed in a tone that had to have taken months or even years to dial in. The earth-shattering bass coupled with coarse vocals is ripped to shreds by the DJ’s scratching, followed by an earthquake-inducing rhythm. This opening track, which after a brief two minutes and forty-seven seconds leaves you needing to gasp for air.
L33CH
“L33CH” is the second track, and it follows suit and feels like a continuation of the previous song, “Born 2 Break.” Clocking in at just two and a half minutes, this bombastic ditty will make your ears bleed. Full of guitar noise similar to an early Slipknot, cymbal crashes ring out in the quiet spots. This is the first track where you can hear the multiple vocal styles from the band. I’m not sure if it’s just the single lead vocalist, Anthony Grambo, performing all the vocal parts or if another member is pulling double duty. As there are low guttural screams, high-pitched shrieks, and rapped parts all bathed in aggression, angst, and thunder.
Dead Soul
“Dead Soul” is next and has been released as the lead single on this notably short album. It is what the band calls “the perfect introduction to this record.” It features a hip-hop bounce that tempers the brutality while proclaiming the band’s “Fuck you” mantra. With lyrics like “Always running your mouth. I’m casting you out. We built this shit that you know nothing about.” You know that Resistor is not here to play games. This one starts with some frantic scratching and brutal screams by Grambo, kicked off by a “Sit the fuck down” bellow. This, coupled with the samples and/or guitar ambience, makes this song another track that could have been stripped off a Slipknot album. The track pummels you for over three and a half minutes but seems to fly by in a matter of seconds.
The band has described “Dead Soul” as “what to expect from the next nine songs.” In terms of the meaning, it’s a big ‘Fuck you,’ which tends to be our motto and a central theme.”
BITE THIS!
This title track explodes from the speakers like an atomic juggernaut. The understated guitar riff is dirty and disgustingly aggressive in its simplicity. Then there is a “bass break” that will make your windows rattle with sonic pleasure. And the samples just make it go even harder.
PETTY FUCK
A frenetic beat and a jagged, down-tuned chug fuel the sonic bloodletting of “PETTY FUCK.” True to its title, “Petty Fuck” channels frustration and defiance into an unapologetic expression of resentment. Bassist Ian Schneider noted the song’s message is “loud and clear,” adding that while there aren’t a ton of expletives, “there are enough.” Built on thick, punchy riffs and a rhythmic bounce that locks into a head-nodding groove while maintaining aggressive momentum, a signature element that sets Resistor apart from their contemporaries.
LOVE SONG (BULLSH!T)
This is anything but a love song. Maybe somebody needs to reach out to these guys and offer up a heartfelt hug. In all seriousness, this song slams as hard as the previous five songs on this release. There are some interesting samples/DJ/production work going on in this song. It makes for a headbanging, fist-pumping song full of hate and venom.
LEARNING TOOLS
Oh my, the chug at about the 2:15 mark is going to make you drive 100 miles per hour, followed by a decadent guitar decay that leads perfectly into the next track, “Frozen at 29.”
FROZEN AT 29
Noisy, sludgy, down-stroke guitar blasts you face-first into this track whether you like it or not. Distant screams echo through the track, exuding despair and regret. Haunting keyboard draws you in as the agony of Grambo’s vocals echoes in the distant background, giving a bit of a Deftones feel. The track ends with some futuristic computer noises that clean your audio palette in preparation for “XXL.”
XXXL
Turntables snake around the guitars, practically choking out feedback, and Grambo delivers his anthemic state of the union, “This is big boy revolution!” And is that somebody imitating the Fat Boys following the extended vocal growl towards the end of the track, or maybe a sample? Inquiring minds want to know.
FEEL LIKE SHIT
The finale “FEEL LIKE A SHIT” is caustic and cathartic. Slamming you in the face with distortion that will rattle your teeth. Against this backdrop, Grambo bellows, “It only gets worse.” Leaving you wanting more as the album winds down and the final cymbal crash rings out.
This album is a giant step forward for the band. It has a nu-metal feel, bathed in hardcore, married with a DJ’s sensibility. The exclusively live instrument feel makes the anguish, fear, and worry come screaming through the speakers with genuine emotion, catchiness, and above all, heaviness. There is what seems to be genuine chemistry between the five distinct musical identities of the members. The turntables add texture that feels essential, while the bass tone and riffs can knock you on your ass. The album balances brutality with head-nodding grooves, and considering it clocks in at just 29 minutes, it doesn’t overplay their hand.
With production being handled by Randy LeBoeuf (Acacia Stain, Misery Signals, Counterparts, Thy Art is Murder, Every Time I Die, Unity TX, Kublai Khan TX), it is clear that this is just the entry point for Resistors’ journey in the musical world. The album will be released on March 27, 2026, on all the platforms and can be ordered on WeAreResistor.com.
Also check out the Empire Extreme interview with Resistor’s drummer Pete Smith here.
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Hollywood, CA (August 20, 2024) — It is 2024, and W.A.S.P. is celebrating 1984! 40 years ago, the landmark debut album from W.A.S.P. was released on August 17, 1984, and the metal world was knocked on their ass!
The W.A.S.P. “Album ONE Alive” Tour celebrates the debut album by playing the album in its entirety, from start to finish.
To give the fans something every week to celebrate W.A.S.P. is giving away…
• 10 pairs of tickets a week for the length of the US tour.
• Silver Award – Blackie is also giving away each week of the tour two personal meet and greets in his dressing room. In HIS dressing room!
• Gold Award – One lucky fan will win Blackie’s personal certified RIAA award for the debut album.
• Platinum Award – And the Grand Prize, one fan and a guest will be provided airfare and a luxury Hollywood hotel to the final show in Los Angeles, meet the band and stay for the after show, end of tour party.
W.A.S.P. can only celebrate 1984 once and they want to do it big!
To enter all you have to do is visit and enter your email address:
https://forms.gle/WU5wE3K4BbmaBSQv9
It was recently announced that Armored Saint will be replacing Death Angel on the tour. W.A.S.P. issued the following statement: “W.A.S.P. is pleased to announce that Armored Saint will now be joining the “Album One Alive” Fall 2024 U.S. Tour. Due to unforeseen circumstances, Death Angel will no longer be able to be a part of this tour. We all wish them the best going forward.”
Tickets and VIP packages available at WASPnation.com/tour
THE ALBUM ONE ALIVE WORLD TOUR 2024 DATES:
10/26/24 San Luis Obispo, CA @ Fremont Theater*
10/28/24 Portland, OR @ Roseland Theater
10/29/24 Seattle, WA @ Moore Theatre
10/30/24 Vancouver, BC @ Vogue Theatre
11/01/24 Calgary, AB The Palace Theatre
11/02/24 Spokane, WA @ Knitting Factory
11/03/24 Boise, ID @ Knitting Factory
11/04/24 Salt Lake City, UT @ The Depot
11/05/24 Denver, CO @ Paramount Theatre
11/07/24 Minneapolis, MN @ The Fillmore
11/08/24 St Charles, IL @ The Arcada Theatre
11/09/24 St Charles, IL @ The Arcada Theatre
11/10/24 Detroit, MI @ Royal Oak Music Theatre
11/11/24 Toronto, ON @ History
11/13/24 Montreal, QC @ MTELUS
11/14/24 Quebec City, QC @ Theatre Capitole
11/15/24 Boston, MA @ Orpheum Theatre
11/16/24 New York, NY @ Hammerstein Ballroom At Manhattan Center
11/17/24 Philadelphia, PA @ Franklin Music Hall
11/19/24 Cleveland, OH @ The Agora Theater
11/20/24 Pittsburgh, PA @ Stage AE
11/21/24 Stroudsburg, PA @ The Sherman Theater
11/22/24 Silver Spring, MD @ The Fillmore
11/23/24 Charlotte, NC @ The Fillmore
11/24/24 Orlando, FL @ The Plaza Live
11/26/24 Nashville, TN @ Ryman Auditorium
11/27/24 Atlanta, GA @ The Eastern
11/29/24 Houston, TX @ House Of Blues
11/30/24 San Antonio, TX @ Aztec Theatre
12/01/24 Dallas, TX @ The Factory in Deep Ellum
12/03/24 Little Rock, AR @ The Hall
12/04/24 Wichita, KS @ The Cotillion
12/06/24 Albuquerque, NM @ REVEL
12/07/24 Tempe, AZ @ The Marquee Theatre
12/09/24 Tucson, AZ @ The Rialto Theatre
12/10/24 San Diego, CA @ House Of Blues
12/11/24 Reno, NV @ Grand Sierra Resort and Casino
12/12/24 Las Vegas, NV @ Brooklyn Bowl
12/13/24 San Francisco, CA @ The Warfield
12/14/24 Los Angeles, CA @ Hollywood Palladium
* No support acts.
About W.A.S.P.
Few bands in the history of rock n roll have ever incited the love, the hate, and the raw emotional effect this band has had on the world. From the very beginning, in the small venues of Los Angeles, California, and later to the numerous countries worldwide that banned these Winged Assassins from performing live, the band’s unique style of shock and rock caused religious organizations, local city councils, parliaments, and the Washington D.C. Senate to hold hearings in an effort to bar this group from selling records and trashing stages everywhere they played.
The band’s founding member, frontman Blackie Lawless, has led the group as its lead vocalist and primary songwriter since its beginning. His unique brand of visual, social, and political comment took the group to worldwide heights and sold millions of records alongside a legacy of sold-out shows across the globe for 4 decades.
https://www.facebook.com/W.A.S.P.Nation
https://www.facebook.com/groups/waspnationofficialgroup/
https://twitter.com/waspofficial
https://instagram.com/waspnationofficial
https://youtube.com/@WASPNationOfficial
https://www.threads.net/@waspnationofficial
https://www.bandsintown.com/a/7553
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