Of the handful of really, really great metal bands to emerge in the past decade, High on Fire are one of the very best. Founded by underground stoner metal icon Matt Pike after the dissolution of Sleep, High on Fire are louder, faster, and more concise than his previous band, adding elements of Celtic Frost, Venom, and particularly Motörhead, to Sleep's signature sound. Despite being clearly indebted to the NWOBHM, High on Fire's records sound very fresh, standing out amongst Nu-Metal clowns and Neo-Power Metal bombast just as Slayer were a welcome alternative to the Scorpions. High on Fire's new album, Death is this Communion, is thunderclap-heavy, lightning-paced, and best of all, pretty identical to the past few High on Fire records, save for a few instrumental interludes, some less-muddy production, and slightly proggier songs. Over-the-top compositions are given minimal arrangements, grunge legend Jack Endino lends punk cred and a hand in production, and over eleven scorching tracks, Death is this Communion exhibits just about everything that's great about heavy metal. And like every really great metal band, High on Fire are even better live.
Pike, joined by longtime drummer Des Kensel and new bassist Jeff Matz, headlined the first-ever metal show at the new Williamsburg Music Hall (formerly North Six), and there could not have a better band to do so. Opening the show by storming through new thrasher 'Fury Whip,' High on Fire spent the rest of the night dousing the crowd with some of the gnarliest speed-metal that you're ever going to hear. Death is this Communion was heavily represented, and older, under-produced tracks like 'Eyes and Teeth' and 'Speedwolf' were given the vibrant, skull-crushing renditions that they always deserved. While High on Fire's punk sensibility keeps their songs from succumbing to prog-rock ostentatiousness, it also voids them of any sense of subtlety. By sheer speed, heaviness, and lyrics that read like H. P. Lovecraft writing for D & D, High on Fire can duke it out musically with any band in the world today.
Oakland native Pike has a distinctly English presence, in part from his cockney-sounding growls (sort like how Billie Joe Armstrong emulates Pete Shelley) and in part from his rotting teeth, but mainly from his inability to hide what a great time he's having onstage. Resembling many an early British-metal hero, the shirtless Pike was constantly mugging, grinning widely, and running around like a hyperactive kid, clearly having at least as much fun as the horns-flashing, headbanging fans. It's entirely plausible that Pike spent almost as much time imitating Cronos' stage banter and Lemmy's facial expressions in front of the mirror as he did practicing guitar in his youth, and outside of Andrew W.K., there may be no 21st-century metal hero who displays the joy of performing as well as Pike. During new album standout 'Rumors of War' and the follow-up, 'DII,' Pike sprung around like a one-man mosh pit, clearly relishing every growl, chord change, and head-bang as if he had just stepped out of Heavy Metal Parking Lot. Had he grown up near Maryland in the 1980's, he would've probably been a film star.
Coupled with the power of Matz and Kensel's rhythm section, the band never showed any sign of letting up all night. Matz' bass playing stays pretty much in key with Pike's Gibson, helping the band sound grimier than ever, and Kensel's furious, relentless drumming ensures that Pike never slows down or plays the same riff for too long. One has to see High on Fire to truly grasp their musical capabilities; it's impressive enough that they can follow the time signature changes of 'Turk' and 'Waste of Tiamat' on record, but it's most amazing to catch them nailing their instrumental duties while running around onstage like a bunch of kids.
Late in the night, Pike screamed the name of what is arguably his best song, 'Devilution,' and played it even faster and campier than the studio version. Having only one word in the chorus, the drum-abusing opener to Blessed Black Wings is almost certainly High on Fire's best scream-along track, and Pike's hammer-on solo gave way to more of his Spinal Tap-esque theatrics, in a very good way. 'Devilution' was the last song that they played that night, putting High on Fire in a small group (alongside Lamb of God and the Melvins) of metal bands who don't play encores. Good call, guys--who needs pseudo-spontaneity in rock n' roll?
If you ever want to know why metal bands put on the best live shows in the world, go see High on Fire.
The opening acts were a worthy bunch--Coliseum proved themselves deserving of their place on Relapse Records with their Melvins-inspired din, and they were followed by Panthers, an energetic, highly entertaining bunch who clearly checked out all the bands that were covered on Garage Days Re-Revisited, tellingly ending their set with 'Crash Course in Brain Surgery.' Japan's Mono, who seemingly brought in as many fans as the headliners, played spacey, ambient post-rock instrumentals which were often gripping, but also killer to the momentum that the previous bands created. Mono would likely have been more suited for a spot on this year's earlier Isis/Jesu/Torche tour.
How much does this song kick ass?
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