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March 27, 2019 @ 8:00 pm - 11:30 pm


@Thalia Hall
Wednesday, March 27yo
Doors = 7:00 pm
Show = 8:00 pm
Ages = 17+


YOB is a doom metal band from Eugene, Oregon, though that single tag doesn’t remotely capture the entirety of their attack, which also integrates sludge, space, stoner, and progressive rock to create an intense and instantly recognizable sound. Their career can be delineated into two distinct periods. The first covers their first four albums: Elaborations of Carbon, Catharsis, The Illusion of Motion, and The Unreal Never Lived between 2001 and 2005, which established a healthy following among doom metal fans, after which they split and guitarist/vocalist Mike Scheidt went on to form the short-lived Middian. The second period started with their reunion and The Great Cessation on Profound Lore in 2008 — the band upped its doom quotient and began relentlessly experimenting with prog metal and abstractions of sound, which saw their reputation spread far and wide. At the end of 2016 after a long European tour, Scheidt was diagnosed with acute diverticulitis. After returning home, recuperating, and resuming his everyday activities, he was hit by a second bout in January of 2017. It nearly killed him, but after emergency surgery and nearly a year in convalescence, he went back to work with YOB.

Guitarist and vocalist Mike Scheidt came out of the American Northwest’s burgeoning hardcore scene during the early to mid-’90s, playing bass with the bands Chemikill, Dirty Sanchez, and H.C. Minds. He formed YOB as its guitarist and vocalist in 1996 with bassist Lowell Iles and drummer Greg Ocon. Their digitally issued debut demo appeared in 1999. This lineup lasted only until 2001; the rhythm section disbanded after recording YOB’s full-length Elaborations of Carbon for 12th Records, issued the following year. Scheidt recruited bassist Isamu Sato and drummer Gabe Morely as replacements. The band signed to Abstract Sounds for its sophomore offering, Catharsis, which showcased their extended, super-slow dirge style to its fullest over three extended tracks. After its release in 2003, Morely left and was replaced by drummer Travis Foster. The critical reception that greeted Catharsis was immediate and international, thanks to the internet. Metal Blade signed the band and immediately put them on tour before getting them into the studio to record their 2004 label debut The Illusion of Motion, which gained the band its first headlining tour of the U.S. After the tour, the band re-entered the studio and emerged with 2005’s The Unreal Never Lived. Following a headlining tour and festival dates in Europe, Foster and Sato left the band in July. Six months later, in January 2006, Scheidt appeared to have had enough as well: He announced that YOB had disbanded and that he was now working with a new band called Middian with the rhythm section of bass guitarist/vocalist Will Lindsay and drummer Scott Headrick. They released one album titled Age Eternal — also on Metal Blade — in 2007. After being sued and fighting an extended court battle over the name with a Wisconsin band named Midian, they split.

It was far from the end of the story, however. In 2008, Scheidt re-formed YOB with Foster. The intention was to find a bassist, play some gigs, and cut another album. They recruited Aaron Rieseberg to fill the chair in 2009, signed with Profound Lore, and recorded The Great Cessation with guest keyboardist/ engineer Sanford Parker. They toured the globe. In 2010, the band delivered a scorching performance at that year’s Roadburn Festival. YOB released one more album for Profound Lore, 2011’s ambitious Atma, that featured sampling from Rieseberg’s brother and a guest vocal spot from Neurosis’ Scott Kelly. They also issued Live at Roadburn 2010. The following year, they played the Scion Label Showcase for Profound Lore Records at The Glass House in Pomona, California and issued two tracks as the Live EP. Months later, those same two tracks appeared alongside two each from labelmates Pallbearer, the Atlas Moth, and Loss — as well as one from Wolvhammer for the limited-edition Label Showcase: Profound Lore Records. YOB continued to tour like mad over the next year-and-a-half. Another of their performances at Roadburn was issued as a 500-copy edition Live at Roadburn 2012 as two 12″ vinyls; they instantly sold out.

The recording was issued just before they signed to Neurot and re-entered the studio. Their debut for the label was Clearing the Path to Ascend, recorded by Billy Barnett, who also contributed Hammond organ to a track. Issued in 2014, it marked their best-selling album to date and peaked at number 18 on the national Heatseekers charts. YOB’s touring was constant for two years. In early 2017, Scheidt was diagnosed with acute diverticulitis, a serious infection of the digestive system for which he underwent emergency surgery. He spent nearly a year recovering, but in the interim signed the band to Relapse — which reissued The Great Cessation in December — and resumed an intermittent touring schedule. Most importantly, they completed a studio album for a summer 2018 release. Titled Our Raw Heart, its seven tracks were recorded with Barnett at Gung Ho Studio in Eugene, Oregon and mastered by Heba Kadry (the Mars Volta, Diamanda Galas). Its release was followed by a North American tour. (Source)


Voivod were one of the first thrash bands from Canada to gain popularity outside of their home country. From their beginnings in the early ’80s, their main goal was to be different from anyone else. They created an iconoclastic sound that ranged from screaming thrash to Rush-style prog to straightforward hard rock, but every album contains their sonic DNA, evidenced by dissonant chords, odd and quickly shifting time signatures, homemade sound effects, and manic, thundering drums. After a pair of raw but rewarding offerings, they came into their own by embracing prog elements on 1987’s Killing Technology and 1988’s Dimension Hatröss. Their personnel has shifted over time, but their relentless quest for musical invention remained (and eventually focused on post-psychedelic metal) on later recordings such as 2018’s Wake.

Such early releases as 1984’s War and Pain and 1986’s Rrröööaaarrr showed that the quartet was aligned with the then up-and-coming thrash metal movement epitomozed by Metallica, Slayer, Megadeth and Anthrax, eventually letting prog rock influences seep in on 1987’s Killing Technology and 1988’s Dimension Hatröss. By the time 1989’s Nothingface, their major-label debut for MCA, Voivod had perfected their trademark fusion style, resulting in the most commercially successful release of their career — spearheaded by a video for their cover of Pink Floyd’s “Astronomy Domine” (which enjoyed airings on MTV’s Headbangers Ball) and a headlining club tour over a pair of bands that would soon change the landscape of alt-rock by the early ’90s, Soundgarden and Faith No More.

But just as it appeared that Voivod might be able to break through to a wider audience, Theriault left the group right after the release of 1991’s Angel Rat, as the album quickly sank from sight while the rest of the rock world focused its attention on the burgeoning alt-rock/Seattle movement. The Outer Limits followed two years later, followed shortly thereafter by Belanger’s exit from the band. By the mid-’90s, Voivod’s lineup had been scaled down to a trio — newcomer Eric Forrest doubled on vocals and bass, resulting in such releases as 1995’s Negatron and 1997’s Phobos. The odds-and-ends compilation Kronik and the live set Lives saw release in 2000. In early 2001, the remaining members decided to call it a day when Forrest departed. The band reunited later that year with Belanger back on board; they also enlisted a new bassist, Jason Newsted, formerly of Metallica, resulting in the eponymous Voivod album.

In August of 2005, guitarist “Piggy” d’Amour succumbed to complications from colon cancer. The band was in the middle of recording a new album; on his deathbed, he instructed his bandmates on how to complete his contributions to the band’s forthcoming offering, Katorz, which arrived in 2006. Piggy left numerous songs and arrangements for another album on his laptop. In 2009, Voivod took those demos, guitar parts, and arrangements and structured the album Infini from them, without editing, re-recording, or overdubbing his guitar. The band toured the album across Europe, Japan, and North America with Martyr’s Daniel “Chewy” Mongrain on guitar. A 2009 show at Montreal’s Club Soda featuring members Belanger, Langevin, Mongrain, and (returning) bassist “Blacky” Theriault was recorded; it was eventually released as Warriors of Ice on Sonic Unyon Metal in 2011. Voivod released their 13th studio album, Target Earth, in January of 2013. The single “Kluskap O’Kom” followed. Blacky left again in 2014 and was replaced by Dominique “Rocky” Laroche.

Voivod toured for the next year and in 2015 released a pair of split singles: “We Are Connected” b/w “Language of the Dead” by At the Gates, and “Forever Mountain” b/w “Phonetics for the Stupefied” by Napalm Death. Those two tracks, a cover of Hawkwind’s “Silver Machine,” and two new songs made up the Post Society EP released by Century Media in February 2016. Two years later, the full-length The Wake arrived. Recorded and mixed by Francis Perron at Canada’s RadicArt Recording Studio, it consisted of futuristic prog/thrash metal and mutant psychedelia. (Source)


A Belgian extreme metal band that’s as experimental and atmosphere-driven as it is impossibly heavy, Amenra was formed in 1999 by vocalist Colin H. van Eeckhout and guitarist Mathieu Vandekerckhove. Employing a lethal and often heady blend of doom, post-, and avant-garde metal, the duo eventually expanded into a five-piece with the addition of drummer Bjorn Lebon, guitarist Lennart Bossu, and bassist Levy Seynaeve. Based out of the West Flanders city of Kortrijk, the group issued their debut album, Mass I, in 2003 — each Amenra full-length outing is thought of as a mass, and is titled as such. Two years later, they released Mass II and Mass III, and established the Church of Ra, a D.I.Y. collective of like-minded artists and friends with whom they would collaborate on various artistic endeavors and performances. Mass IV arrived in 2008, followed in 2012 by Mass V, and in 2017 by Mass VI, the latter two of which were issued via Neurot Recordings. (Source)