“Dead End Swedes” – Opeth/Katatonia @ The Roxy, Hollywood, CA 05/13
by John Knowles
It has been roughly one and a half years since two of Sweden’s greatest and most unique metal acts have graced the Los Angeles area with their presence. Metal Exiles was present for the last tour stop in Pomona, California back in October of 2011, and we have waited patiently for a reprise of such an amazing night of dark metal greatness. Opeth and Katatonia have returned, and once again left fans speechless.
The evening’s show was sold out, which allowed for a very crowded concert experience for the eager and hungry fans. Given the limited space of this venue I know I for one considered myself fortunate to be there. I must pause for a moment and recognize the phenomenal sound quality of the Roxy for this event. Smaller venues are not usually known for the greatest sound quality, but thanks to some recent technological improvements at the venue, and a touring soundman for the artists, everything sounded amazing.
Opeth continues to tour on their landmark “observation” Heritage, while Katatonia are now touring for support of their latest offering, Dead End Kings. Much has already been said about Opeth’s latest, and Heritage was definitely well represented this evening. Katatonia were touring on an even more recent release, and this album is quite spectacular. It’s dark and brooding as any Katatonia release and features more stand out and memorable melodies that will work well in their setlists for years to come. Following their haunting intro music the band opened up with the new record’s single, “Buildings” and the crowd seemed very receptive to what these “dead end kings” had to offer. The album was further represented by the amazing “The Racing Heart” and I just have to mention that this song has quite an infectious chorus. Fans sang along to the deep and honest words of band leader, Jonas Renske. “Day and Then the Shade,” “The Longest Year,” and “Forsaker” were all performed as fans remembered their great previous effort, Night Is The New Day.
One of the most interesting things about Katatonia is the fact that during many of their song segments there are moments when all the instruments drop out, and the performance consists of the keyboard-laden backing tracks, and the sorrowful soundscape of Jonas Renkse’s vocals; the performance at times becomes one man bearing his soul alongside the heart wrenching music he has created. Jonas sang the entire set behind his long hair, giving off a sense of being completely drawn into himself and his art. On a somewhat related note, these moments make me wonder why the band does not tour with an actual keyboardist, like for example their countrymen Dark Tranquillity. I would assume that at the very least drummer Daniel Liljekvist must perform to a sequenced track, which allows no freedom for error as the bands tempo keeper; kudos to these guys for pulling off something to this effect through an entire set.
As the bands hour long set progressed the crowd remained respectful, but seemingly less and less enthused. For such a great band, I think their moody and deeply personal style has trouble holding its own for too long with a crowd demanding brutal and fast-paced death metal; an expectation even Opeth seems to be choosing to ignore. As soon as Katatonia left the stage the entire floor moved closer to the front of the venue, cramming everyone together in sight. The room was truly there for Opeth, and a feeling of anxiousness permeated the theater.
As I just mentioned, Opeth seems to have ignored the demand to play only a certain style of music. Their entire career is evidence of this. On their last U.S. tour the band infamously performed a set devoid of death metal, and I believe returning fans were desperately hoping to hear some of those tracks this time around. Mikael Åkerfeldt and Co. opened up with “The Devil’s Orchard,” which was received well by the crowd. Up next, the opening chords to the type of song everyone was waiting for, “Ghost of Perdition.” Mikael ripped into his signature growl, and the crowd loved it. As an avid fan of the band my issue with their setlist on the last tour was not purely out of the fact that it was not “metal” enough, or because I have anything against Heritage or their arguably mellower material. I love their acoustic-based stuff. My issue was the fact that a huge portion of their material features death metal vocals, even if they are combined with cleaner style vocals. And most of these songs are great songs. The band wasn’t simply cutting out their “metal” or “death metal” songs, they were cutting out great music. Hearing the opening track to Ghost Reveries was one of the highlights of the evening.
Next up was “White Cluster,” which instantly caught the crowd in a mosh. This was really the one time a true mosh pit opened up, and it just goes to show that if you are a metal band and perform the old stuff, the diehards will go nuts. Interspersed throughout the set was Mikael’s usual onstage crowd banter. He was charming and hilarious as always, even at one point taking the time to say how happy they were to return to San Francisco. You’ve got to love those Spinal Tap moments! The band slowed things down for a moment to visit the Damnation album and perform “Hope Leaves.” This was followed by “Atonement” with an exciting extended jam. It was at this point that I really started to notice the many disrespectful words from crowd members. I heard things like, “Play Metal!” as well as many song requests for some of their heaviest material. These comments lasted for the remainder of the show, and were clearly noticed by the band members. Mikael is obviously very proud of his entire body of work, but perhaps even more proud of the bands recent achievements. He has said in numerous interviews as of late that he considers Heritage to be the bands best work. To hear members of the crowd repeatedly shout off-hand remarks about the “mellower” material had to be taking its toll on the band, and Mikael in particular. My favorite joke from him that evening was when he responded to a song request by asking, “When you arrived here today did you see a sign on the door that said BAND TAKES REQUESTS?...No?”
The band retaliated with the heavy onslaught of “Deliverance,” and “Heir Apparent.” To close the show Opeth returned to Heritage with “Häxprocess” and a very interesting acoustic rendition of “Demon Of The Fall”, to which I heard a few audience members demand the “death metal” version. This was followed by “The Lines In My Hand” as the band walked off stage to prepare for the encore performance, “Blackwater Park.”
All stages of the band’s career were represented, and despite the disrespect of many audience members, I think the band picked a terrific setlist. Overall both performances sounded incredible, and both bands showcased the best of their careers, certainly leaving a memorable impression on those in attendance.
My apologies for the lackluster selection and quality of pictures for this show, but unfortunately due to the venue and my location, photos were shot from “A Great Cold Distance.”
Official OPETH Website
Official KATATONIA Website
by John Knowles
It has been roughly one and a half years since two of Sweden’s greatest and most unique metal acts have graced the Los Angeles area with their presence. Metal Exiles was present for the last tour stop in Pomona, California back in October of 2011, and we have waited patiently for a reprise of such an amazing night of dark metal greatness. Opeth and Katatonia have returned, and once again left fans speechless.
The evening’s show was sold out, which allowed for a very crowded concert experience for the eager and hungry fans. Given the limited space of this venue I know I for one considered myself fortunate to be there. I must pause for a moment and recognize the phenomenal sound quality of the Roxy for this event. Smaller venues are not usually known for the greatest sound quality, but thanks to some recent technological improvements at the venue, and a touring soundman for the artists, everything sounded amazing.
Opeth continues to tour on their landmark “observation” Heritage, while Katatonia are now touring for support of their latest offering, Dead End Kings. Much has already been said about Opeth’s latest, and Heritage was definitely well represented this evening. Katatonia were touring on an even more recent release, and this album is quite spectacular. It’s dark and brooding as any Katatonia release and features more stand out and memorable melodies that will work well in their setlists for years to come. Following their haunting intro music the band opened up with the new record’s single, “Buildings” and the crowd seemed very receptive to what these “dead end kings” had to offer. The album was further represented by the amazing “The Racing Heart” and I just have to mention that this song has quite an infectious chorus. Fans sang along to the deep and honest words of band leader, Jonas Renske. “Day and Then the Shade,” “The Longest Year,” and “Forsaker” were all performed as fans remembered their great previous effort, Night Is The New Day.
One of the most interesting things about Katatonia is the fact that during many of their song segments there are moments when all the instruments drop out, and the performance consists of the keyboard-laden backing tracks, and the sorrowful soundscape of Jonas Renkse’s vocals; the performance at times becomes one man bearing his soul alongside the heart wrenching music he has created. Jonas sang the entire set behind his long hair, giving off a sense of being completely drawn into himself and his art. On a somewhat related note, these moments make me wonder why the band does not tour with an actual keyboardist, like for example their countrymen Dark Tranquillity. I would assume that at the very least drummer Daniel Liljekvist must perform to a sequenced track, which allows no freedom for error as the bands tempo keeper; kudos to these guys for pulling off something to this effect through an entire set.
As the bands hour long set progressed the crowd remained respectful, but seemingly less and less enthused. For such a great band, I think their moody and deeply personal style has trouble holding its own for too long with a crowd demanding brutal and fast-paced death metal; an expectation even Opeth seems to be choosing to ignore. As soon as Katatonia left the stage the entire floor moved closer to the front of the venue, cramming everyone together in sight. The room was truly there for Opeth, and a feeling of anxiousness permeated the theater.
As I just mentioned, Opeth seems to have ignored the demand to play only a certain style of music. Their entire career is evidence of this. On their last U.S. tour the band infamously performed a set devoid of death metal, and I believe returning fans were desperately hoping to hear some of those tracks this time around. Mikael Åkerfeldt and Co. opened up with “The Devil’s Orchard,” which was received well by the crowd. Up next, the opening chords to the type of song everyone was waiting for, “Ghost of Perdition.” Mikael ripped into his signature growl, and the crowd loved it. As an avid fan of the band my issue with their setlist on the last tour was not purely out of the fact that it was not “metal” enough, or because I have anything against Heritage or their arguably mellower material. I love their acoustic-based stuff. My issue was the fact that a huge portion of their material features death metal vocals, even if they are combined with cleaner style vocals. And most of these songs are great songs. The band wasn’t simply cutting out their “metal” or “death metal” songs, they were cutting out great music. Hearing the opening track to Ghost Reveries was one of the highlights of the evening.
Next up was “White Cluster,” which instantly caught the crowd in a mosh. This was really the one time a true mosh pit opened up, and it just goes to show that if you are a metal band and perform the old stuff, the diehards will go nuts. Interspersed throughout the set was Mikael’s usual onstage crowd banter. He was charming and hilarious as always, even at one point taking the time to say how happy they were to return to San Francisco. You’ve got to love those Spinal Tap moments! The band slowed things down for a moment to visit the Damnation album and perform “Hope Leaves.” This was followed by “Atonement” with an exciting extended jam. It was at this point that I really started to notice the many disrespectful words from crowd members. I heard things like, “Play Metal!” as well as many song requests for some of their heaviest material. These comments lasted for the remainder of the show, and were clearly noticed by the band members. Mikael is obviously very proud of his entire body of work, but perhaps even more proud of the bands recent achievements. He has said in numerous interviews as of late that he considers Heritage to be the bands best work. To hear members of the crowd repeatedly shout off-hand remarks about the “mellower” material had to be taking its toll on the band, and Mikael in particular. My favorite joke from him that evening was when he responded to a song request by asking, “When you arrived here today did you see a sign on the door that said BAND TAKES REQUESTS?...No?”
The band retaliated with the heavy onslaught of “Deliverance,” and “Heir Apparent.” To close the show Opeth returned to Heritage with “Häxprocess” and a very interesting acoustic rendition of “Demon Of The Fall”, to which I heard a few audience members demand the “death metal” version. This was followed by “The Lines In My Hand” as the band walked off stage to prepare for the encore performance, “Blackwater Park.”
All stages of the band’s career were represented, and despite the disrespect of many audience members, I think the band picked a terrific setlist. Overall both performances sounded incredible, and both bands showcased the best of their careers, certainly leaving a memorable impression on those in attendance.
My apologies for the lackluster selection and quality of pictures for this show, but unfortunately due to the venue and my location, photos were shot from “A Great Cold Distance.”
Official OPETH Website
Official KATATONIA Website
