Geoff Tate, the iconic former voice of Queensrÿche, continues to captivate audiences with his live renditions of "Operation: Mindcrime," a masterpiece widely hailed as the greatest heavy metal concept album in history. For those in San Antonio, Tate's performances of this 1988 classic have become a cherished tradition, with the Aztec Theatre often serving as the hallowed ground for these events. His recent concert, billed as "Operation: Mindcrime: The Final Chapter," was no exception, offering a scintillating display of energy, musicianship, and raw electricity that belied Tate's recent open-heart surgery. The sheer enthusiasm and electrifying stage presence made it easy for fans to forget any past health concerns, underscoring the enduring appreciation for Tate and his band, regardless of the material they choose to perform.
The evening commenced with Irish support acts Ogma and Tomas McCarthy, whose performances were elevated by shared musicianship with Tate's band. Tate himself, sporting a black cowboy hat, seemed right at home. His ensemble was a testament to global talent, featuring guitarists Kieran Robertson from Scotland and Dario Parente from Rome, bassist "Smilin'" Jack Ross from Scotland, drummer Baker from Seattle, keyboardist Bruno Sa Ferreira from Brazil, and the Irish duo of cellist Julia-Maria and violinist Ryan Parsons. Alto saxophonist and vocalist Clodagh McCarthy, from Ireland, also played a crucial role, reprising the part of "Suite Sister Mary," a role previously inhabited by notable artists like Sass Jordan and Tate's daughter, Emily Tate. The audience was treated to powerful renditions of "I Don't Believe in Love," "Waiting For 22," and "My Empty Room," culminating in the album's epic closer, "Eyes of a Stranger," a song that undeniably left an indelible mark on the global metal community. For many, including this writer, the album was a formative experience, purchased immediately after high school, even before its iconic music video hit MTV.
Following the full performance of "Operation: Mindcrime," Tate declared, "Guess what? We're just getting started." This segued into the second half of the set, which delved into material from the 1990 album "Empire." A particularly unique moment arrived when Tate and Clodagh McCarthy delivered a jazzy interpretation of the song's signature "Can . . . you . . . hear . . . it calling" passage, showcasing their versatility. Tate's recent activities, including an acoustic set featuring deep cuts like "Until There Was You" and "I Will Remember," as well as "Sign of the Times" and "Chasing Blue Sky" from "Hear in the Now Frontier," demonstrated his continued commitment to exploring his extensive catalog. The main set focused on hits, including "Jet City Woman," during which a fan named Mitchell Miller was invited on stage to sing along, receiving a memorable souvenir from Tate.
The concert also featured a poignant, rarely performed acoustic rendition of "Blood" from the 2003 album "Tribe." This segment, spotlighting Parsons on violin and Julia-Maria on cello, served as Tate's commentary on the pervasive violence in the nation, a stark contrast to the earlier fan interaction. While the tonal shift was unexpected, the inclusion of such a deeply felt song highlighted Tate's artistic breadth and his willingness to address meaningful issues. This willingness to incorporate less commercially resonant deep cuts was something Tate had previously discussed, emphasizing the importance of exploring the entirety of his discography.
The opening acts also made their mark. Ogma delivered an energetic 30-minute rock set, fronted by singer/guitarist Brown, which included an ode to Thin Lizzy with "Jailbreak." Tomas McCarthy captivated the audience with his own 30-minute set, accompanied by his wife Clodagh on vocals and alto sax, and guitarist James Keegan. The trio, despite not employing electric guitars or a drummer, managed to hold the crowd's attention, a feat comparable to instrumental guitarists performing live. Their performance included the Grammy-nominated title track from their EP "Colours," a song written after the passing of a friend.
Looking ahead, Tate is reportedly working on "Operation: Mindcrime III," with Disturbed bassist John Moyer producing. This suggests the possibility of a future live presentation encompassing the original album, its sequel, and the forthcoming third installment, offering a complete narrative arc for fans.
Wacken Metal Battle: A Crucible for Aspiring Metal Bands
Beyond the established legends, the Wacken Metal Battle provides a crucial platform for emerging metal talent. This annual competition, designed to crown the world's best metal bands representing their nations, recently kicked off its San Antonio Regional round at The Rock Box. The stakes are high, with the top two bands advancing to the state final in Austin, and ultimately, to the legendary Wacken Open Air festival in Germany.
The regional competition saw a mix of dedication and varying levels of commitment from the participating bands. While some brought their "A" game, others seemed to treat it as just another gig. The judging panel ultimately selected San Antonio's Voltreus as the regional winner and Aeternal Requiem as the runner-up, recognizing bands that seized the opportunity with fervor.
The journey to the regional final was marked by several withdrawals, including Thunder Horse, Surge, Glorious, Cheese Grater Masturbation, and Wicked Angel. Blood Moon and Forever Silent also failed to appear. These dropouts, in a way, increased the chances for the remaining bands.
Voltreus, characterized by their high energy, black paint, and eerie horned masks, impressed the judges. Vocalist Tyler "Obidius" Groshon shared an intriguing backstory about adoption within the band, culminating in the song "Kith & Kin," a track with an uplifting message about family and fans, which they planned to film a video for and release as a single. Voltreus was formed in 2019 by guitarist/singer Ferni "Infyct" Ramirez and bassist Devin "Obelith" Guy. Groshon, originally from Washington, D.C., found his way to San Antonio, a long-held dream fueled by its music scene, even securing it as his number one choice for military assignment, a rare occurrence. He joined Voltreus in 2021, initially hesitant about taking on vocal duties but eventually embracing the role.
Aeternal Requiem, formerly a trio led by singer/guitarist Austin Zettner, has been resurrected as a quintet, now blending folk metal with a mini flute and material from their initial album "Rise." Their performance at the regional was only their second gig in six years, having previously played the Texas Viking Festival.
The dedication of bands like Egregious, who drove 10 hours from Albuquerque for their 20-minute slot, underscored the passion driving these musicians. Egregious, despite not making the top two, showcased their commitment by raising funds for a rental van to make the journey. Their performance of "St. Vengeance" was noted as a standout. Other participating local bands included Immortal Execution, Corpse Hole, Overlay, and Ariah Falls. Corpse Hole notably performed at the 70000 Tons of Metal Heavy Metal Beach Party shortly before the Wacken Battle.
Voltreus and Aeternal Requiem now face the challenge of advancing to the state final, where they will compete against A Good Rogering, BountyTX, Nemesis, and We Are Man. The ultimate goal is to win the national final in San Diego and then represent their country at Wacken Open Air in Germany, performing alongside headliners like Judas Priest, Def Leppard, In Flames, and Powerwolf. The Wacken Metal Battle serves as a vital barometer for a band's seriousness and dedication, pushing them to critically assess their strengths and weaknesses.
Slipknot: A Force of Nature in Music Videos
Shifting focus to a different titan of the metal genre, Slipknot has consistently redefined the music industry with their daring approach and visually striking music videos. Since their emergence in 1999, the nine masked musicians from Iowa have delivered a powerful blend of extreme music and equally extreme visual narratives. Each album cycle brings a new evolution in their masks and a fresh series of singles, from their raw debut to the emotionally charged ".5: The Gray Chapter." Slipknot's videos are characterized by themes of death, disfigurement, and raw intensity, making them a sensational showcase for their award-winning music.
How Slipknot Wrote 'Wait And Bleed'
The original video for Slipknot's debut single, showcasing the band's energy and intensity during their maiden Ozzfest performance, is a potent introduction. However, the animated version of "Wait and Bleed" takes this visceral experience to another level. This dark, disturbing video replaces the band members with animated dolls attempting to escape a mad scientist's workshop, filled with unsettling imagery of eyeballs, brains, and insects. The grainy film reel aesthetic enhances the horror-movie feel, culminating in the dolls overpowering their captor, a graphic depiction of the band's raw power.
The video for "Psychosocial," from the album "All Hope Is Gone," employs a dual approach, utilizing both high-speed cameras and hand-cranked 35mm equipment. Filmed against the backdrop of a rural Iowa farm, the video perfectly complements the song's driving beat and powerful guitar solos. The straightforward visual presentation allows each of the nine members ample opportunity to shine, both individually and as an ensemble.
The video for "Psychosocial" presents a more narrative-driven approach. It follows a young boy on his way home from school, stopping at a butcher shop. The unsettling atmosphere of the meat market and a dimly lit freezer create a sense of unease. The boy's actions, including his unsettling demeanor and the murky water he drinks at home, parallel the song's lyrical themes of isolation and the struggles of homelessness experienced by vocalist Corey Taylor. The video's black-and-white, reverse-chronological narrative adds a layer of intrigue, depicting a man performing a series of tasks that ultimately reveal a cremation process, a deeply personal and artistic tribute to fans.
Another notable video is for the song "The Devil in I." This video explores themes of transformation and inner turmoil. It features a woman moving at a significantly slower pace than the surrounding world, symbolizing her internal struggle. Her journey culminates in her adopting a Slipknot mask, after which the band appears, also removing their masks to reveal "death masks." They then interact with the woman, moving at both speeds, suggesting a shared experience of metamorphosis. The video, split into two parts, effectively captures the song's duality of frustration in the first part and guilt and remorse in the second. This heart-breaking ballad, a departure from Slipknot's usual high-tempo style, is an unapologetic emotional onslaught.
Directed by P.R. Brown and Shawn Crahan, the video for "Snuff" is a cinematic short film that tells the story of a love gone wrong. Corey Taylor's character observes Laurence from the shadows, his voyeuristic behavior hinting at a hidden past. The video reveals their former relationship and Taylor's lingering attachment, showcasing a new artistic dimension for the band, both sonically and visually. The absence of pyrotechnics and spectacle does not diminish the potent brutality inherent in Slipknot's work; instead, the cinematic storytelling and emotional depth of the song create a powerful and compelling visual experience. The question of which Slipknot music video is the "best" ultimately depends on individual interpretation, but the band's consistent ability to deliver impactful and artistically significant visual narratives is undeniable.