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#HeavyMetal

Maidens of Swiss metal Militia sizzle in live San Antonio debut

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Maidens of Swiss metal Militia sizzle in live San Antonio debut

A check of nearby flagpoles last Friday night appeared to portend another evening of serene inactivity outside.

Inside Fitzgerald’s, however, was a different story.

A gale force of power blew in from as far as Switzerland, courtesy of five maidens of metal known as Burning Witches, and as near as Austin and locally thanks to a grouping of bands that helped form the backbone of the South Texas Legion scene in the mid-’80s.

Featured attraction Burning Witches made their live San Antonio debut one to remember with a powerful 14-song, 75-minute set in the quaint “party hearty at McCarty” bar with San Antonio stalwarts Byfist, Austin veterans Militia and a rare appearance by local trio Grind.

And because it was their debut in the Alamo City, the Swiss witches were basically touring in support of, at least in North America, their entire five-album catalog and not just 2023 effort The Dark Tower.

Dutch vocalist Laura Guldemond, Swiss natives Romana Kalkuhl (founding member & guitarist), bassist Jeanine (Jay) Grob and drummer Lala Frischknecht and newest guitarist and lone American Courtney Cox — formerly of The Iron Maidens and Femme Fatale — came out flying on new opening track “Unleash the Beast” and 2020’s “Wings of Steel.”

No ballads and no fillers comprised the highly energetic performance (see all setlists in 55-photo gallery), and it continued on “Necronomicon” and ATM’s Facebook Live footage of “Lucid Nightmare” and “Evil Witch,” which were just samples of Cox’s scintillating shredding capabilities and featured Guldemond leaving the stage to join the audience on the former track.

Burning Witches is already working on its 2025 album, which included the release of new single “The Spell of the Skull” just three days prior to the concert. It marks the first song the band has worked on with Cox on guitar, although Burning Witches did not play it live or even mention it.

By the way: sign me up for a Cox-vs.-Nita Strauss guitar battle any day of the week.

Although Burning Witches has covered Savatage’s “Hall of the Mountain King,” Ozzy Osbourne’s “Shot in the Dark” and W.A.S.P.’s “I Wanna Be Somebody” on their two latest albums — and Dio’s “Holy Diver” going further back — none of those were offered up at Fitzgerald’s. That decision was very respectable given the whole inaugural San Antonio concert thingy and fans wanting to hear more of their own music. However, Frischknecht and Cox’s predecessor, Larissa Ernst, spoke about the Savatage cover and more exclusively with ATM in 2021 upon the release of The Witch of the North, which you can watch here.

Guldemond was also a terror — in a good, evil, demonic way — on one of Burning Witches’ heaviest tunes: the 2018 title track to Hexenhammer which was followed by new song “World on Fire,” both of which can be viewed below.

Guldemond, Grob and Kalhuhl in particular made themselves readily available to meet fans throughout the performances of the trio of Texas artists, and Guldemond’s personal website goes a step further. The singer offers to lend her vocal talents to other artists with the following message: “Yes, I also would love to help you out with vocals for your project. Just send me a message with a demo and lyrics and a plan if you have them at ‘contact.’ “

Go ahead. ATM will make it easier for you here.

The only downside of the group’s performance came via something not within its control.

An unfortunate occurrence at many Fitzgerald’s gigs is artists telling their fans they can barely see them, only hear them. (Grind said so as well in the middle of ATM’s Facebook Live clip of that band below).

Burning Witches’ performance may have been one of the first in which that scenario unfolded at the end of the set when the band simply requested to take a photo with the crowd. Guldemond asked twice to have the lights shined upon the patrons, but each inquiry was to no avail. As a result, no keepsake was taken for the group’s initial foray into the Alamo City, and it never should have come to that. But once again, ATM obliged regarding the ladies’ final bow in the photo gallery.

Byfist provided direct support with the usual hard-hitting crew of power vocalist Raul Garcia, lead guitarist Manny Santos, rhythm guitarist Nacho Vara, bassist Stony Grantham and drummer Scott Palmer.

Byfist has basically been playing the same set since 2020’s release of In the End, but it’s an entertaining show each time. Their 1989 EP Adrenaline was produced by the late Metal Church vocalist “Reverend” David Wayne, whose band Reverend included Vara until Wayne passed in 2005. Watch ATM’s Facebook Live footage of opening tracks “Left to Die” and “Universal Metal” and below on “Guaranteed Death” and “Mary Celeste.”

Why yes, that is an ATM photo under the “Born of Shredders” section of the band’s site.

Militia, on the other hand, doesn’t come around to San Antonio that often despite hailing from the nearby live music capital. Vocalist Mike Soliz, guitarist Tony Smith, band founder and bassist Robert Willingham and drummer Chip Alexander formed the impetus of the hard-hitting group in the mid-’80s, which recently added guitarist Phillip Patterson.

Although they were inactive for many years, Soliz made an appearance in 2018 at Fitzgerald’s when the South Texas Legion brotherhood of metal that included mainstays such as Jason McMaster, James Rivera, Bobby and Ron Jarzombek, Art Villareal, Pete Perez and others united on the same stage for a memorable evening of Q&A, storytelling and rocking everyone’s hearts out. (ATM coverage here).

On this night, Militia delivered the goods on seven tracks including ATM’s Facebook Live footage of “Search for Steel” and “And the Gods Made War” plus below on “The Judas Dream” and “Salem Square.”

Soliz at one point apologized to the crowd for his voice being hoarse. But, seriously, the man’s pipes were in incredible form, and this opinion wasn’t the only one who felt that way as fans assured him they couldn’t even tell. That was further evidenced by the fact he screamed more than the other three vocalists on the bill combined — and nailed it every time.

However, the guitars were super loud, often drowning out Soliz’s chops unless you were at the barrier — but thankfully not resulting in anything near the Perry Farrell/Dave Navarro episode that occurred recently at a Jane’s Addiction concert over a similar situation.

Militia will shortly be marking a momentous occasion in the group’s history, as Nov. 30 marks the 40th anniversary of the famous “Slayer vs. Slayer” show at The Villa Fontana that included Militia as a support act for the Los Angeles Big 4 outfit and S.A. Slayer in 1984.

The trio of Grind began the Fitztivities (as the bar likes to often say) at 8 p.m. with a 30-minute set that delighted and made one wonder why the band doesn’t perform here more often. Guitarist Bob Perez may hold the key to that, as he spends the bulk of his musical time with Vara in Seance, while bassist Rudy Munoz may just need some nudging from his circle of friends to convince him there’s perhaps more of a demand to hear the band live than the band itself may think.

Judge for yourself below on “Who Do You Think You Are” and via ATM’s footage of “Pain” and “Surreal.”

Hopefully this initial viewing of Burning Witches in South Texas will serve as a warmup act. By the time the next album arrives, it wouldn’t be a stretch to have them perform with the likes of an Armored Saint, or even on Helloween’s 2026 North American 40th anniversary tour at a place such as Boeing Center at Tech Port or the Aztec Theatre.

So, local promoters, get on it. Let the witches set our world on fire once again. And give them a proper Kodak moment to remember.

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Local thrash guitarist soars with Soulfly in hometown birthday show

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Local thrash guitarist soars with Soulfly in hometown birthday show

There’s little doubt that Max Cavalera is regarded within the heavy metal community as being at the forefront of Brazilian metal. And just in case anyone would think his co-founding of Sepultura with his brother Igor wouldn’t justify that on its own, Cavalera has graced the industry with other outfits such as Soulfly, Cavalera Conspiracy, Killer Be Killed and Nailbomb.

Yet somehow, Cavalera may have been upstaged as far as “the story” goes when Soulfly returned Feb. 3 to the Rock Box. And he certainly didn’t seem to mind.

With Cavalera recently recruiting San Antonio / San Marcos native Mike DeLeon as Soulfly’s touring guitarist for the next nine weeks, the show marked the latter’s homecoming — on his birthday no less.

A member of Pantera vocalist Philip H. Anselmo’s solo band Philip H. Anselmo & The Illegals as well as guitarist in San Antonio death-metal band Flesh Hoarder, DeLeon had the time of his life in one of his first gigs with Soulfly. And that was long before Cavalera introduced the band prior to encores “Eye For An Eye” and “Jumpdafuckup.”

Cavalera had the packed Rock Box serenade DeLeon with “Happy Birthday” and chants of “Metal Mike, Metal Mike!” as the man of the hour headbanged his mane. Then, after pointing to DeLeon and saying, “This guy is the fucking best,” Cavalera inexplicably twice called him Mike DeLeTron, although he may have been trying to make a play on words for the Soulfly tribe by calling him DeLeTribe.

Another possibility is that Cavalera confused DeLeon with the man to Cavalera’s immediate right — bassist Mike Leon.

That was a joke, folks.

But seriously, the former Havok bass player and Texas guitarist differ in first and last names by only two letters.

Soulfly thrashed and “destroyed this fucking place,” as is Cavalera’s wont. Also accompanied by his son Zyon on drums (click here to watch ATM’s interview with Max and his two sons from Soulfly’s 2016 tour kickoff at the now-defunct Korova), the band emphasized Soulfly’s first four albums dating back to the 1998 self-titled debut with several Totem tracks mixed in.

That included “Filth Upon Filth,” which blended with older tunes “Prophecy,” “Fire,” “Porrada” and “Bleed,” all of which can be viewed below.

It wouldn’t be a Cavalera show regardless of the band name on stage without some Sepultura, so the fired-up frontman pulled out “Refuse/Resist” before offering up the lone Nailbomb tune of the night, both of which can be viewed below.

The nine weeks are sure to fly by for DeLeon, a man who last fall was actually filling in for Zakk Wylde at the initial rehearsals for the reunited Pantera and informed this writer of that fact at a Steve Vai concert Oct. 9, roughly three months before it became national news.

And while Cavalera has made it clear that it’s been his intent to have revolving members on tour in Soulfly, DeLeon may in fact wake up several weeks from now and wonder if the whole journey has been a dream.

If that’s the case, he’ll have some photos and videos to look back on and perhaps one day tell his kids he didn’t just share the stage with the Ayatollah of Rock N’ Rolla for nine weeks. He’ll be able to say he shredded it and killed it.

And flew the flag for South Texas in the process.

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Arch Enemy, Behemoth bestow metal madness upon Aztec's patrons and heathens

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Arch Enemy, Behemoth bestow metal madness upon Aztec's patrons and heathens

During his band’s co-headlining performance Monday at the Aztec Theatre, Behemoth frontman Adam “Nergal” Darski instructed the locals not to take their freedom for granted while dedicating “Conquer All” to the people of Ukraine. Then as the group wound down “Chant For Ezkaton,” Nergal stated it was an honor to play for the crowd, urging fans to stay safe.

Those couldn’t possibly be the actions of a musician who had been banned from playing his native Poland once upon a time after tearing up a Bible on stage, could it?

Then the face-painted vocalist/guitarist bellowed two words that took the energy to a whole nother level (Alamo True Metal footage below) and indicated that this show with nightly alternating co-headliners Arch Enemy plus Napalm Death and Unto Others was unlike 99.9 percent of the concerts that come to the Aztec:

“Hail Satan!”

As the jam-packed lower level and half-filled balcony roared their approval, memories harkened back to why Nergal has often been regarded as one of metal’s most controversial figures.

But along with his emphatic religious statements, Nergal has persevered through personal adversity after having been diagnosed with leukemia and undergoing a bone marrow transplant. Those long-ago life-changing moments made the second night of this tour possible in the first place for Behemoth and its San Antonio fans.

Additional tracks such as “Bartzabel,” “Slaves Shall Serve” (ATM footage of both below), “Evoe” and the heartwarming “Christians to the Lions” (ATM Facebook Live clip here) cemented why it was good to see and hear Behemoth back on the scene post-pandemic and back in the States. And the group’s punishing and darkened hour-long showing set the stage for Arch Enemy to top with its own hour-long set.

Between all four bands, it was refreshing to see a concert devoid of exaggerated echoed vocals or longer-than-necessary “delay throws” meant for effect that instead served as a distraction by giving the impression backing tracks were used to assist actual singing efforts. Rather, this night was filled with pure molten metal singing and instrumentation that not only encouraged patrons to chant along but to keep up with the pros who led the way on stage.

Then it was Arch Enemy’s turn. Commence sore throats.

After kicking off two nights earlier in Tempe, Arizona, Arch Enemy unleashed its own brand of metal behind the sinister vocals of Alissa White-Gluz, dual shredding riffs of founder/songwriter Michael Amott and former Nevermore and Sanctuary guitarist Jeff Loomis, thumping bass of Sharlee D’Angelo and pounding drums of Daniel Erlandsson.

Whereas Behemoth’s anti-Christian dominated songs call for dark imagery throughout the stage show, Arch Enemy is a photographer’s delight by employing some of the best lighting in the business, as exemplified in the 145-photo slideshow below. The lavish scenery often belies the brutality of the band’s music, but it’s far better than the abhorred red and blue light most bands relegate themselves to.

You mean the audience can actually see the band play? What a concept!

Set to unleash new album Deceivers on July 29 via Century Media Records, Arch Enemy devoted one-fourth of its 12-song performance to the three singles that have been released: “House of Mirrors” (ATM Facebook Live clip here along with “My Apocalypse,”), “Handshake With Hell” (ATM footage below) and “Deceiver Deceiver.” Of course, the quintet didn’t forget their older tunes originally sung by Angela Gossow, who continues to be the group’s manager, such as “Dead Bury Their Dead” and “Nemesis” (ATM footage below; full setlist in slideshow). To tide fans over till then, Arch Enemy is releasing a fourth single, “Sunset Over the Empire,” on May 20 via 7-inch vinyl.

“I am thrilled that we are releasing our next single 'Sunset over the Empire' not only digitally everywhere as usual, but also as a physical 7-inch vinyl record,” Amott said in a press release. “I'm a big fan of the vinyl format myself, and I think this killer looking 7-inch will be a nice collector's item as it's a limited run. The B-side is an instrumental we've never released before on a record, and the A-side is one of my fave tracks off our new upcoming album Deceivers.”

As with any band that has replaced singers along the way, Arch Enemy was taking a big risk eight years ago when White-Gluz took over for Gossow. Unlike many that have failed doing so, however, Arch Enemy has continued to flourish if not expand on its horizons, in large part to the leadership of Amott and D’Angelo. One of those favorite personal moments in the band’s latter-era history came aboard the 70000 Tons of Metal cruise in 2017 when the group held a press conference to select media in world premiering the “As the Stages Burn” live at Wacken Open Air DVD. Watch ATM’s footage of that entire news gathering here and here.

Deceivers will mark the third album with White-Gluz on vocals, and with the band’s overall star continuing to rise and shine, it’s only a matter of time before Arch Enemy graduates from mid-level theaters and branches out into larger American venues. If any melodic death metal band is going to lead the way into such a scenario, it figures to be this metallic melting pot comprised of Swedes, Canadians and Americans.

Yet another part of the world was represented at the Aztec in the form of England’s Napalm Death. Visiting the Alamo City for the first time since supporting Slayer on their final tour in 2018 at the Freeman Coliseum (coverage here), the veteran outfit full of self-described “noise” unleashed a carnage of distortion and rage espousing socialism, pro-choice and other topics not for the faint of heart.

With longtime vocalist Mark “Barney” Greenway declaring his band’s hometown a “luxurious shithole,” Napalm Death provided the 30-second “The Kill” and backdrop of a Texas woman being arrested for attempted murder by virtue of an abortion on “Suffer the Children” (ATM footage of both below) as a small taste of its history. Minus the suit and tie, Greenway is reminiscent of Angus Young in his relentlessly bounding energy as he runs a marathon back and forth across the stage, a testament to his lanky English frame. Napalm Death performed tracks as far back as 1987, but you can also watch them via 2020 and 2021 offerings “Invigorating Clutch” and “Narcissus,” respectively, here.

The night began with the debut Alamo City showing of Portland, Oregon, natives Unto Others. Formerly known as Idle Hands, the group released Strength last September, its initial effort via Roadrunner Records, featuring video and Monday’s opening track “Heroin.”

On the one hand, vocalist/guitarist Gabriel Franco pulls you in with his eerily calm yet haunting vocals that made one wonder who the familiar sound resembled, only to revisit an earlier received press release that referred to The Cure’s Robert Smith, resulting in a “a-ha!” moment. And the next, Franco sucks you in with “Heroin’s” most telling line, the chilling “I swear to Godddd!”

Along with bassist Brandon Hill, guitarist Sebastian Silva and drummer Colin Vranizan — none of whom had any room whatsoever to maneuver around the stage amidst the gear and props of the forthcoming bands — Unto Others’ 30-minute set was built around the premise of turning fans onto its newest material. Watch them in action via ATM Facebook Live footage of “Nightfall” and below on closer “When Will God’s Work Be Done.” Unto Others is definitely a band that will hook listeners in the first time and, more importantly, keep them hooked and looking forward to future music and visits.

Arch Enemy, Behemoth, Napalm Death and Unto Others didn’t just kick the two-year Covid-19 layoff in the ass at long last. All four bands provided a much-needed respite from hell on earth due to the pandemic and daily grind we all go through, giving ticket-holders plenty of reason to cheer, sing and thrust their horns skyward.

The way metal was meant to be. Whether Satan was lurking or not.

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