Welcoming the Dark Lord – Feature/Interview by Mike Cadaver


It’s a Thursday night as I walk into a familiar venue to see a heavy metal show. I’m not that familiar with one the bands who are playing that night, but that doesn’t matter since I’m in the mood for some drinks, socializing, and some heavy metal. Little did I know that by the end of the evening, not only will I have seen a local band play a show complete with theatrics and badass metal, but I’d be jerking off a 10” inch black dildo attached to a live-action Baphomet. This, ladies and gentlemen, is the trip that the band Darklord takes you on.

From the ashes of Year of the Wolf, Gunner Bandura (Guitar and Vocals) and Steve Lefevre (Drums) were hungry to get another project going. They had been composing music for their new endeavor, Darklord. Enter Brewja (bass), who was “lured” (Steve’s exact words) to come play bass for Darklord under the pretense that she would be trying out for Year of the Wolf, a band which Brewja was a fan. Once they had her “locked” (again, Steve’s exact words) in the practice space, they “Trapped her with songs of the Dark Lord” says Gunnar.  This sealed the lineup for Darklord, but more importantly, at this point, all of the pieces came together to make Darklord what it has become. “A band devoid of ego, with a pure love for metal”, Steve says proudly.


Having been used to a “too many cooks in the kitchen” kind of band management situation describes Steve, He and Gunnar wanted to get the chance to express themselves more thoroughly. Steve, who had been the drummer for multiple bands for over 25 years, was able to step out from behind the drums and step into a writer role. Enjoying their sibling-esque relationship, Steve and Gunnar quickly “learned that our writing styles made it easy for them to collaborate on new music” describes Steve. Brewja notes how “it’s almost like Gunnar and Steve speak in a foreign language that only they can understand as they work out new music”. She explains how she doesn’t want to get in the middle of that partnership because the results are outstanding. Brewja also has her own language when writing music as well. If she hears something and raises the devil’s horns, that means the material has the Brew Seal of Approval. “If no horns are thrown up, then maybe something needs a bit more work”, Brew laughingly shares.


Darklord is a far cry from Year of the Wolf stylistically. Whereas Year of the Wolf was straight-up hardcore punk, Darklord finds themselves somewhere down a sludgy path that Black Sabbath built. Steve, after working in The Stork Club in Oakland for 8 years and having seen hundreds of bands, he had plenty of opportunities to study and ascertain what kinds of bands he enjoys watching. Darklord’s vibe has become the culmination of Steve’s ID wrapped up in a band. “After seeing the countless styles of bands over the years, I realized that one thing I hadn’t seen is a stage show that incorporates a live Baphomet with a great rack”, Steve says with an emphasis on the rack. “I’d seen hundreds of images of Baphomet used in bands, but there’s just something about a live Baphomet that will get the crowd’s attention” says Steve. Steve also emphasizes that “It’s not sexual, but the idea of our imagery, and the live Baphomet, is to stimulate people’s senses”. “The 10” cock, and goat mask attached to a topless woman, does a great job getting the attention of the crowd” Steve explains. However, Darklord’s live show has evolved to include live virgin sacrifices by the unholy high priestess of the Dark Lord, and other similar rituals. The actors in this macabre pageant, come from a pool of talented local friends who see what Darklord is trying to do and volunteering their time and talents to make it happen. “Everyone that’s helped us out with this has been so gracious and willing to help out and become part of the show in their way”, Steve says. This stage spectacle will continue to evolve and perfect itself for as long as Darklord plays. Gunnar recognizes The Rocky Horror Picture Show touring troupe, and what they do, and hopes to tour with the whole Darklord cast and crew. Steve recalls bands like Alice Cooper or Gwar and how theatrics has been a part of Heavy Metal for quite a while.  This is not to say that every show will have the full cast. “Darklord should be, and will be, known and remembered for our music” Gunnar adds. “There’s just something wrong with people who are always at Gwar shows, but don’t know Gwar’s music”, Gunnar adds. Darklord’s stage show is just another part of the whole package. Gunnar wants to make the music as memorable and as compelling as the theatrics.

At this point in the interview, Brew affirms that from the first time hearing the music, that she was on board. It should be noted, however, Steve and Gunnar hadn’t shared their ideas for the live show with Brew until they were sure she was solidly on board to make sure they didn’t scare her off… but this writer is not sure if there’s much in this world that would scare Brew off.


Though the stage show gives off a solid satanic vibe, that’s not all that Darklord is about. They do have songs that openly criticize organized religion, but Gunnar says “it’s more about not being a slave to an institution that discourages free thinking”. They also have songs about overpopulation and other societal topics. Using Baphomet and their satanic imagery is “more of an anti-establishment symbol than literal satanic worship” Gunnar points out. The band likes it because the symbols they use cause a strong reaction, one way or another. “It lets us know where we stand with our fans”, Steve says. Another message that Darklord radiates that’s not so blatant, is the sense of female empowerment. Two thirds of the band are not only females, but strong females who are aggressive and powerful. Steve mentions “I think that it will be females who will save Heavy Metal by overcoming the “Bro-ness” of metal”. He says that schtick has been played out and in order for metal to evolve, “a different voice needs to make itself more present in this music”. “Back in the day when you would go to a metal show, there would be 99% males and the 1% of females that showed up to the shows were getting pawed at for 3 hours”, Steve explains. There’s already been a huge shift in those numbers in metal. The appeal has shifted in that way. Darklord isn’t trying to ride the fact that they are mostly females. Instead they want to treat this as normal, “because it IS normal” Gunnar emphasizes. Everybody involved in the band and stage show is female, outside of Steve. “That’s why you see so many boobies everywhere” Gunnar quips. “It’s a cool darkness of the female spirit”, she adds. In choosing the name Darklord, they mention that it’s a universal term and used in many different situations. “Sauron is a dark lord, Darth Vader is a dark lord, Voldemort is a dark lord” and it’s already a big part of society’s psyche. With the band Darklord, however, it will be turned on its head because of the dark lord in this situation is a female. Gunnar sees the embodiment of dark lord as a female “but she’s every bit as terrifying or strong as any of the traditional dark lords that exist in culture”, she adds.

Darklord have recently released a video for their song Temple of the Blind. It’s a heavy, sludgy, piece that begins at a snail’s pace, but builds throughout the song, to culminate in a rush of aggressive metal that will melt the face off any listener.


The video is inspired by cards in the Tarot. In the video Gunnar is The Fool. A wanderer on her motorcycle heading out on a journey of self discovery. On her journey she takes “leaps of faith” to open her consciousness, but may offer danger which lead her along her way. She comes upon The Hermit, played by Steve. After their interaction and learning what she can from the Hermit, she is directed to go visit The Emperor. Played by Brew in the video, “The Emperor” gives The Fool the next set of mind-expanding lessons, then hands Gunnar a pyramid which is the clue to the next destination on her journey. The pyramid leads her to the end of her journey, which is found at an actual pyramid. Once inside, she meets Baphomet (The Devil card). In this case, the devil signifies all of the things you’ve become attached to and are potentially stopping you from pure self realization. “The Lovers”, in the this video have chained themselves to one another. The chains are loose enough that they can easily escape, but have chosen to remain bound. Gunnar is then accepted by the devil and accepted in to their fold… but death in this instance actually symbolizes a rebirth, and this time a rebirth free of the shackles and attachments of her former life. At the end of her journey of enlightenment, she’s been freed by her bonds and has achieved a higher level of consciousness. Summed up by Steve, this is “Darklord’s main message… the advancement of the self and the freeing your mind”.

Darklord’s live show will be an eye-opening experience for all who dare to behold. Their music is heavy, dark, and thoroughly invigorating. This band, though already armed with a stellar show and stellar music and a no-ego environment in which to write music, will continue to evolve. Make sure to check this band out!





Scars of a Land Forgotten – Interview with Sweden’s Sarcasm by Bryer Wharton


Sometimes taking a chance on a band at random pays off in dividends. Yes my first question of the interview entails some details of me buying the long lost Burial Dimensions album from Dark Descent along with a T-Shirt all because I thought a death metal band with that name was cool (it was on discount too). Long story short, I got the CD, played it a bunch loved it and it’s sound. Months passed and low and behold I hear the band reforms and has a new album. Well isn’t that convenient – where I thought Burial Dimensions was all I would get, I get a new record and the chance to talk to the band about their history and their current state and everything else. Sarcasm are not your typical Swedish death metal band be it their straightforward style or the melodic style that does not even remotely represent what is being called melodic death metal today. Check out the interview with vocalist and founding member Heval Borzarslan.

Bryer Wharton: So I came across Sarcasm last year – I was buying stuff from Dark Descent, I saw the band name and Swedish death metal. Purely because of the name, that I love! I bought the Burial Dimensions CD and shirt without even knowing what the band sounded like. So first question, there are a few bands with the name Sarcasm, since I want to know, why did you chose the name?

Heval Borzarslan: Cool, It’s nice to  know that people still buy albums before hearing them, I did that all the time in the 80s. Today, the chance is very small you get something good when you take a risk like that isn’t it? Well actually, when we formed this band in 1990 I just suggested the name Sarcasm, I don’t know why I did that, and we weren’t thinking much about any other names before we chose, we just took the first thing that popped up from my head. We didn’t think so much about the meaning either, we just thought it sounded cool, short and to the point. We didn’t think about changing even when the band progressed into something more melodic and epic, we never talked about it, it just stuck with us you know. And we hadn’t heard of that Slovenian band with the same name, I don’t think they were active back then. There were a couple of other bands with the same name, but they spelled different, one with a K and one with a Z.

BW: That said, the Burial Dimensions album is a solid one, why was it never really officially released in any capacity until 2011?

Heval: When we released our last demo in 1994 we were desperate to record an album and rushed into the studio just months after the demo and recorded it, without sorting the details out with the label etc, we were very inexperienced with that stuff and didn’t even send the album to other labels after we canceled the deal. Our guitarist and main songwriter left after that demo, our drummer was about to move to another city way up north, the others and me included didn’t have any inspiration to continue. I was very much tired of the whole underground scene and the way people behaved. This was 94 and the only thing people were into was black metal and they wanted us there where we didn’t belong. So we split up without even announcing it to anyone or ourselves for that matter. It just happened quietly. I stopped writing letters so Burial Dimensions was never spread or heard of, and we wanted it that way until years later when I thought perhaps this album should be heard, and I was curious to know what people would think about it after so many years. So I talked with Cronis at To The Death Records about it and agreed that they release it, packaged with all the demo material as a 3-LP compilation in 2011. Dark Descent released the same compilation on 2-CD and finally as a standalone release last year.

BW: How active in that early Swedish metal scene were you? Did the band not really sounding like a lot of the “standard” Swedish death metal bands maybe change how you were looked at then?

Heval: We were very active in that scene back in the day, and we checked out pretty much every band that came out and had contacts with many of them etc. At first, in our earliest demo days we were very much “standard” I would say. We were basically one of many “Autopsy-inspired” bands with that “sunlight sound” and gory lyrics. But after the third demo we wanted to crawl out of that world and add new elements to the music. Sure, the first albums of Grave, Unleashed and all that were great but change and motion forward was needed for the genre to survive, A lot of bands changed in Sweden  in 1993, either they became “death ‘n’ roll” or “melodic death”, and since we disliked “death ‘n’ roll” we experimented with melodies. I remember many bands all of a sudden started to listen to traditional heavy metal and got inspiration from Iron Maiden and stuff, and so did we, but we didn’t want to lose our brutality either and wimp out so we blended both and added a blackened atmosphere to the whole thing..

BW: What inspired your initial sound to current? I don’t know why I feel so hard pressed to think of influences – most likely because you have a unique sound, there’s also the fact that my head right now feels like it got kicked by a mule.

Heval: When the band started 27 years ago we were very much inspired by death metal bands at that time, many American bands such as Death and Autopsy, and also the Swedish bands of course. We were so much into that music back then, and actually even more so years before we started, especially me and Fredrik (our first guitarist), we checked out every single band and demo that came out, we worshipped all those underground bands like Exmortis, Dr. Shrinker and all those guys, we were pretty much addicted to death metal and wanted to create our own noise also. But as time passed by and we became better musicians and the songs naturally became more complex, as I said, we started to listen to other music than just death metal, we were also very much into bands like Dead Can Dance, Fields Of The Nephilim etc. It just felt natural to add stuff in the songs that wasn’t common in death metal back then. I remember when we wrote the song Scattered Ashes, the guys just jammed a simple heavy metal riff all of a sudden, we laughed at first but then we thought, why not just add it in the middle of the song for surprise effect, and we did it enthusiastically. We didn’t follow any rules anymore – it was a short but exciting period for the band. And when it was time for us to record our last demo  “A Touch of the Burning Red Sunset” we just wanted to experiment (even more so on our first album), at that time not many death metal bands had pianos, female vocals, birds singing etc in their songs. And because it was uncommon some people threw us into the black metal category. We liked of course some of that black metal and captured that atmosphere and kept the brutality of death metal and blended both worlds and at the same time experimented a lot, and that made it unique I think, and I’m glad you’re are saying that because people often draw a fast conclusion and compare us to Dissection or some other bands. But if they dig deeper in the music they’ll find out that we explore many worlds.

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BW: What sparked the band to reunite and what went into building the current line-up?

Heval: Well after so many years of not playing in bands we decided to reform my other band Third Storm in 2014, I wasn’t sure how that would turn out, it felt surreal to do this again but after a while I really enjoyed being in a band again, it was fun and felt like I was 20 again, and I wanted to do more stuff and thought of Sarcasm a lot, and how much unfinished business we had with that band, I felt that the band deserved a second chance and that we can deliver much more than we did. So I contacted the guys and they liked the idea. Both Fredrik and Oscar were thrilled. Since our bassist Dave Janney passed away in 2008, we needed a bassist so Henrik, our guitarist said he’d like to play bass because he was not comfortable with the guitar anymore, so we needed a second guitarist so I contacted Peter Laitinen. I knew Peter from before and knew what he was capable of, he said yes and he began writing a song immediately and sent me a song two weeks after, which we gave the title “From the Crimson Fog They Emerged”. Then in March last year when we just completed the 6th song for the album, our drummer Oscar passed away. It was a tough time so we decided to take a break and see if we can continue this. In April we said, ok we need to complete the album for Oscar’s sake so we wrote two more songs. We contacted Matte Modin and asked if he could play drums on the album and he agreed and just before the recording Fredrik and Henrik left for various reasons so Jonas Söder joined as our bassist and we contacted Anders Eriksson who played on our first album and asked if he would like to re-join and he said yes he hadn’t played guitar for almost 20 years so he had to practice a lot, but after few weeks he played like old times again and learned the new songs fast..

BW: What was it like going into writing for the new album after all these years?

Heval: It was a great feeling, we were very inspired and went with the energy flow so everything went very fast. We knew exactly how the direction would be, the old atmosphere but one step further and without repeating ourselves. The melodies should be there yes, but they should not overpower the aggression of the music and they have to be dark and sophisticated. In my opinion, this “melodic” death metal music has only become laughable and cheesy after 1995. We didn’t want to make same mistakes as all those happy melodic bubble gum bands from the funny accent city of Gothenburg.

BW: Higher production values are easier to achieve now as compared to the past. I think the new record does a great job at retaining the original sound of Sarcasm but gives it a crisp sound. Did you have any goals in mind as to how you wanted the new record to sound?

Heval: Yes, you are right, we wanted the album to sound like albums sounded like in the past, but still have an updated and modern touch, one foot on each era so to speak. We wanted the record to have a sound that was old but clear at the same time. We are not big fans of supermodern metal productions, there are new albums with good sound of course, but most of them sounds so lifeless and fake. We wanted an organic sound, with lots of atmosphere, the drums should sound like drums and not something a computer produced etc.

BW: Speaking of sound the guitar tone is similar, did you change it much for the new recordings from what was used back in the day? Also what kept the old members fresh in their playing – were there any other bands you were involved in?

Heval: You really think the guitar tone is similar? We don’t agree, Peter is very specific what he wants, the least thing he wanted was to have a sound that reminded of that Sunlight sound or something similar, since we have many stuff going on in our songs, we needed a clear sound so all the details could be heard, but still deadly. I was bandless for many years til I reformed my other band Third Storm in 2014, Matte is the only one in the band who has constantly been playing in bands. Peter also reformed his other band Imperial Domain same time as we reformed.


BW: Is there any particular theme throughout the new album lyrical or just through the sound or did you want to explore multiple themes? – for me its a bit of both, musically fast and heavy songs or like “Embodiment of Source” for example slower and in a way a bit downtrodden.

Heval: Yeah, the laws of the universe are the themes throughout the lyrics, energies, power of the mind, creation of your own reality, rebirth, messages from your inner being, the source etc. The lyrical content is very “cosmic” and “philosophical” and spiritual if you will, but not in a religious way. And the focus is planet earth. There are alot of stuff happening in the song “Embodiment of Source”, many riffs from mid-tempo to fast to insanely fast an so on.  And “A Black veil For Earth” is a doomier, darker and is completely different from the rest of the album and it seems like it’s everyones favorite now, we didn’t know it would turn out that way, we just needed a long song because the album would be very short otherwise haha..

BW: The album art is spectacular – I’m a huge fan of bright and colorful art when it comes to anything metal – too many dark and undetailed album covers I’ve come across. How does the art relate to the music on the album – who did the design?

Heval: I agree, I’m also a fan of that kind of artwork. The album cover is very “80s”, you know when every album cover looked alive and had its own uniqueness, and all those covers are iconic today and we were after something like that, something striking and something that can’t be missed in the record stores. We dislike all these crappy and lifeless photoshop made covers, it has to be made by human hands and not mouse clicks. The artwork was made by Raul Gonzales, a Spanish artist who also did our first album. Actually the Burial Dimensions artwork was made long before it was considered for the album, we liked it so much and bought it from him, and we loved the skeleton guy on the cover so much so we used him again for our new album. He is officially our mascot now and will be used in the future also. His name is Sarcor by the way. The concept for the cover was my idea actually. The artwork continues on the back of the cover, it’s the universe with all the planets in our solar system lined up, and there’s a vortex, stars etc. And the idea was that the planet earth is in focus, lyrically the album is all about our planet and that’s why Sarcor is holding it in his hand and analyzing it and all that fire and energy symbolizes empowerment.

BW: Did you intend to develop a bit of diversity for the new songs – I feel it’s not a new style attempt for Sarcasm, the older material goes from speed to rotten to some melodies. What do you feel your strengths in songwriting are? And what do you think makes Sarcasms brand of death metal unique or stand out?

Heval: Diversity has always been an important factor to this band and every song has to have its own identity and if you listen to the new songs closely you can find all kinds of styles of metal. Its core is death metal, and there are lots of melodies covered with a blackened atmosphere and if you listen closely you can find some thrash elements and Peter’s guitar solos are more in vain of many of the guitar virtuosos in the 80s, there are also some heavy metal stuff on the album, and stuff that leans to old technical death and thrash (We are huge fans of Death, Cynic, Coroner etc), there are some slower doomier stuff, classical stuff etc. And everything is done in a very deadly way. If the album is analyzed you’ll find that this band is inspired by all kinds of genuine metal, because that’s what we listen to.




Kreator with Deathblow and Bestial Karnage Show Review @ The Complex, SLC, Utah. 04.03.17

Photos by Madi Smith – Review by Bryer Wharton – All works © BS MAG 2017


So Salt Lake City may not have got the full Decibel Mag tour, Kreator headlining with Obituary, Midnight, and Horrendous. The thrash metal gods, did give the headlining Kreator two primo SLC area thrash acts to open up the show – Bestial Karnage and Deathblow. I don’t know many that would argue oh let’s just have these bands over getting to see say the likes of the mighty Obituary. I’m not going to complain. The Monday night was full of speed riddled mighty thrash and was a damn good time. On to the breakdown of the show!

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Bestial Karnage – For some reason I felt like I had seen these riff raging maniacs before but I’m pretty sure I had not. I think I had just seen vocalist/rhythm guitarist Daniel Valencia and guitarist Zakk Kelly  constantly tearing it up at SLC shows. In fact I’m quite certain either both guys or at least one of their long hairs have hit me in the face or I’ve been pushed around in the pit by the guys. Rounded out, by whom I’m sure are a bit newer members Gunner Bandura (Year of the Wolf, Darklord) an all around nasty bass slinger and drummer Miguel Gomez who can hit them skins for sure. I mean this in the most complementary way possible Bestial Karnage seem like a band that somebody would invite to a home/garage show and ruin everyone’s fun with their raw and dirty style of speed/thrash. They don’t stick to a tight set BK are happy with sounding ugly with a shit-ton of ferocity behind them. I know the band has some sort of physical release out and I’m curious to hear how their live intensity translates to record. I’m also pretty sure the band did not want their show to end the house shut the lights off (I don’t think that was part of the show) but hey at least they didn’t get their audio cut… well I think they finally did – it’s hard to tell and I don’t care. They had a blast on stage (and in the pit during Kreator). I was still home by 11 and it didn’t fuck with the show flow.



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Deathblow – Thankfully this is not BS MAG’s first run in with Deathblow. I did an interview with Holger for issue 3 – I’ve also had the pleasure to see the guys over the years. The four-piece whom I’m pretty sure gone on record to say they have sonic influences from Kreator just keep getting better with age. I can’t remember how long it had been seen I’d seen the band, but long enough to not have had seen them play some new shit live. Like their latest single release “Demolition Deployment” and its other original song (I’m fairly certain they played it) “Implements of Destruction.” It’s always a good thing that every time I have seen Deathblow live I have not been disappointed and their opening slot here was proof in their live chops as well as ferocious fans. SLC has a great variety of metal music from all genres Deathblow not to gush but they are at the top of my list – hell under my sweatshirt I was wearing my old beat up Deathblow Prognosis Negative shirt. Seriously though those riffs in “Demolition Deployment” – quite a coup de grâce.



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Kreator – This was the first time for me to go out to show for a while (well I did see Immolation in mid-March). February and March were not nice to me. Plagued with migraines and body pain – it’s fitting that the start of April saw me out to see the German thrash stalwarts. Before I talk about the show, please readers if you disagree tell me. Kreator seem to reach the largest audience and the most consistent out of the German thrash titans when it comes to new tunes. The last few Destruction albums have not really given me much interest to go back and listen to them. And newer albums, for instance Holy Mosses were let downs comparatively to not too long ago when the German thrash scene seemed to be bouncing back. I mention this because it translates to Kreators’ live show quite a bit. The fact that the new songs fit right in with the old and the fans are singing and moshing along to new track “Satan is Real” right in line with say “People of the Lie”.

Kreator also did a fantastic job that seems out of the norm for many band that are touring with a new record – they played at least four new songs but integrated throughout their set. The norm I mention seems like when a band has a new album they throw the new songs together right at the beginning of their set almost like they’re trying to get them out of the way. That dispersing of new tracks –  to me shows that Kreator see the strength in the new tracks just as much as the old favorites or the newer cuts that have become fan favorites, like “Hordes of Chaos,” “Phantom Antichrist,” and “Civilization Collapse.”

I feel like there should be a warning about the lighting for folks going to Kreator shows – hell they put them on pretty much every video game now. Strobes and flashing lights galore – this has been the case for every time I have seen Kreator. I actually think it highlights the bands live ferocity and chaotic nature. When all is said and done judging by a moshpit that put last year’s Slayer, Cannibal Corpse (well the whole Summer Slaughter tour) shows pits to shame – with tons of smiling faces a screaming crowd. Kreator nailed their show – but I’ve never seen them not do that. They just seem to have a knack at putting on great live shows. The crowd interaction is there, but not too much to come across as a band trying to eek attention from the audience. The song selection keeps the flow and interest going. This show had something special that the other times I had seen Kreator felt like was lacking – the sound. The sound was not pristine by any means, but in times prior the sound felt bulked up and more bass heavy with at times an over bearing triggered drum sound. This instance had that old school German thrash vibe more treble crunchy guitars and yes the drums were triggered but not too overbearing. Also the vocals were perfectly in the mix to where you could hear every lyric. Closing out the set with “Pleasure to Kill” was a nice icing on the bands exit – Long live Kreator!



Michale Graves – Solo/Acoustic concert Review. 4.11.17 @ Club X, Salt Lake City, UT

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Every time I go to a show I generally have some sort of expectations – a preconceived notion of what is to come. For the most part that’s true but Tuesday, April 11’s Michale Graves show at Club X in Salt Lake City included a big fuck-up on my part and a totally unexpected solo acoustic set from the former Misfits vocalist Michale Graves.

My fuck-up? – Well I forgot to change out the batteries in my camera, but I was expecting to see a full-band with crazy lighting. I got some cell shots, took a crappy bootleg video. Back to those preconceived notions – if I would have done research I would have known that Graves was going to be performing solo acoustic. I was not disappointed in the slightest in fact it was at times somber and at times a fun filled atmosphere with the small but loyal crowd signing along and requesting songs.

I remember in High School I had some Cross Country and Track buddies that new I liked metal and kept asking and telling me that I should listen to the Misfits – I finally got around to listening to them. It’s really not a debatable fact that Glen Danzig era Misfits are superior in every way. That said when the Misfits reformed with Graves as the vocalist, the enjoyed a lot of success he made his mark as the frontman and for the die-hard Misfits folks Graves era is just as important as the Danzig era.

While yes, Graves played versions of Misfits cuts he wrote he also played a wealth of his own material which peaked my interest quite a bit, the songs that were written as acoustic songs such as “Blackbird,” “Wanderer,” “Man Versus Train” and “Butcher Shop” saw Graves change up his vocal style significantly. After the said, I thought to myself his addition of a little country twang or just that less kind of rockabilly persona that comes out of his Misfits and electric songs sounded better for his voice the next morning I jumped on the ole youtube and re-listened to those original songs and promptly changed my mind – having that versatile voice especially as a solo artist is hugely important. Out of his solo material in the end I found the track “Wanderer” to be my favorite with “Man versus Train,” a close second.

The acoustic renditions of the Misfits material that Graves wrote of course seemed to be the crowd favorites, with Graves taking on “Dig up Her Bones,” “Saturday Night,” “Forbidden Zone,” “Fiend Club,” “Scream” and more had the crowd singing along and hanging on every word. Graves made those songs feel like a special treat playing them acoustic while he sat on a chair the whole show – where the original songs are rocking and hard hitting he transformed them into a different form “Saturday Night,” and “Dig up Her Bones,” especially had a vastly transformed feelings, “Saturday Night,” turned into a dark but kind love song, “Dig Up Her Bones” came out particularly somber.

Although the whole night Graves sat in a chair playing his set he rocked and kept the beat with his feet the genuine emotion he put forth just in his face and vocal expressions gave a great credit to his showmanship. I wasn’t bored for one minute of the set where sometimes an acoustic set can become tedious. I’m now out to pick up some of the acoustic non-misfits material from Graves. I do have to say it was interesting to see a