The annual confab in the mag’s Philly hometown (not to be confused with the defunct series in Los Angeles, or the ongoing winter adventure in Colorado) brings together beer drinkers & Hellraisers. The craft beer world is almost as segmented as musical sub-genres. Brewers seek to introduce a “new” theme on a variation, something no one has seen/heard or sampled, previously.
As with the bands, there’s always one or two that stand apart from the rest. Apart from the headliner, the Day 1 line-up was something of a “Puppet Show Vs. Spinal Tap” mis-billing, the variety and quality of the libations superseding the top billed music.
Like the start of the old Flintstones cartoon, the quitting time whistle sounds and people head to The Fillmore. By 4 PM, the doors are open and half hour later, the first band, Philly based Unholy Altar, is onstage. A two-guitar, corpsepainted black metal outfit comprised almost entirely of women (lead guitarist is lone male), they began with a drone of guitars and the anguish cry of the singer, Desecrator.
“Black Winds Of Nocturnal Dismay”, “Descent Into The Abyss” and “Judas Iscariot” are up early and give a sample of where they’re headed, thematically. Early on, Desecrator never moves far from the animal skull adorned mic stand, swaying back and forth. Eventually she coils and uncoils the mic cord and ventures stage right. There are matching candelabras, on opposite sides of the stage, as well as standalone candles and plenty of incense, to start.
Upstairs, which is reserved for those purchasing the more expensive “Beer” ticket (which allows unlimited sample pours for all but the highest octane choices), the space is practically empty, compared to past years. Major players like local behemoth Yards, are noticeably absent and the usual bump-into-one-another spacing doesn’t exist (at least not yet). It’s a long night, so start small and work your way up. Baltimore based Nepenthe Brewing has a 4.3%, transparent yellow colored American lager called Mallet, which is slightly see, to the taste. Germantown, PA Attic Brewing has been one of my favorites, in years past, as well as supporting the scene, by hosting concerts, onsite.
This year, they have collaborations with Exodus and Incantation. The opaque, 5.4% Blood Ale is a red IPA in conjunction with the Bay Area legends. It features the Exodus logo, vertically displayed on the can, as well as a variation of the original Bonded By Blood twins, on the label. The other, Mortal Brew Of Nazarene, is a light colored, 5.2% pilsner.
From Indianapolis, Mother Of Graves is something new in the fest canon. Over the years, there seems to be a formula for the fest. First band is always a black metal outfit. There will be an oddball pick and a hardcore band, an older, reactivated band and a few newer death metal acts, etc. Can’t recall a doomy, atmospheric death acts, similar to the hallowed UK trio: Paradise Lost, Anathema & My Dying Bride. In fact, the singer wore an old Anathema tee onstage. Musically, the Graves are closes to Gothic era PL: heavy, belabored tones and bellowing, but clean vocals.
Lumbering “Gallows” opens, signaling the pace for much of what will follow. There are two guitars and vocalist Brandon Howe doubles on keyboards, situated at the lip of the stage. “Tears Like Wine” is also aired early in the set. At one point, Howe dedicates a song to his wife. The “Shatter The Visage” finale gets upbeat and aggressive, unlike what has come before.
Trve Brewing is a returning contributor, this year with four varieties. Arise is their 5% German Pils, light in color, transparent and smooth. One of the few choices here made for all day drinking, not merely sipping (and given the prices most of these command, wouldn’t want to merely down them). Imprint, from nearby Hatfield, PA had something entitled Schmoojee Blackberry Chocolate Ice Cream Smoothie, a 6.5% sour. It definitely is not “sour” to the taste. In fact, the entire “sour” category allows for more creativity.
Looking like its namesake, melted ice cream, the berry taste is more prominent, with just a hint of chocolate. Even the Imprint reps agreed, this one’s not for drinking all day, but rather an occasional curveball. Speaking of sours, Knoxville, TN based Xul (umlauts over the U) not only returned, but brought back one last year’s best entries, the PB & J Mixtape. A purple, berry looking concoction that tastes like peanut butter, with an aftertaste of grape jelly. While not a huge fan of actually easting peanut butter (after daily sandwiches for most of my youth), there’s something special about this one, if you can find it. Again, best in small doses.
Maul came a long way, from Fargo, ND. Garrett Alvarado sent the first song out to “his indigenous people.” A two-guitar outfit, with the bassist adding some vocals. The music is a mix of death metal and hardcore inspired Pantera (Trendkill and later) thrash. Alvarado stalked the stage, side-to-side, like a caged beast, but at one point he conceded, “Come on, I’m from North Dakota.” He’s ambidextrous with the mic, freely switching hands (which is the bane of photographers, trying to get an unobstructed shot of the singer’s face). At one point, they ran through four consecutive tracks off the In The Jaws Of Bereavement CD, including “Blood Quantum” and “Stuck, Stomped and Smeared”, which was just released as a video.
In this crowd, sort of felt out-of-place without any facial hair: seems almost requisite. Tonewood is from nearby South Jersey (represented her by the female brewing consortium, Empress Rising). The Witbier had a hazy, translucent consistency, but would be hard pressed to identify it as a wheat beer (and I drink that style almost exclusively, overseas). Better foreign options included Magnanimous Brewing’s (Tampa, FL) Boneyard Rampage, a collaboration with the band Devil Master (who played Saturday).
A 5% Kolsch, it has a light, yellow hazy and slight sweetness, despite being housed in an all red/black can/litho. An Alluring Deceit, Midwest Death Helles Lager was offered by Adroit Theory (another returning customer to the fest), in collaboration with Maul. The 5.1% was translucent yellow, with a hint of bitterness in the aftertaste. Best of this overseas bunch, Xul’s Handsome Devil, made with New Zealand hops. It was clear, almost colorless, with a strong, refreshing taste. Very surprising!
Speaking of the unexpected. On the surface, Vastum is another guttural death metal band, but 6+ foot frontman Daniel Butler is a wildcard. As they start, he runs around the stage, splay legged, high stepping, knees up, like toying with a toddler in the surf. He makes the spasmodic antics of Napalm Death’s Barney Greenway look like ballet, in comparison! Even before the first song is over, he jumped into the photo pit, with mic and cord trailing, towering over the crowd, as he sings atop the barricade.
That’s not enough, so he repeatedly launches himself into the crowd, still tethered to the stage, and not missing a lyric. Once he returns to the rest of the band, he whips himself overhead with the mic cord, removes his shirt (but keep the vest) and progresses with the rest of the set, sometimes wandering aimlessly, then bursting into fits of hyper activity.
Party Pils is a hazy, but translucent, Toxic Avenger, neon green/teal colored elixir from Empress Rising & local brew pub, Human Robot. Other off the beaten track offerings included a 7% Blistering Eternity IPA (made with Columbus, Strat and Zappa hops), from Trve. While light yellow in coloration, it was cloudy, nearly opaque. Eternal Champion were one of the weekend’s most anticipated appearances. Not sure the same could be said of their beer choice: a 6.66% Blood Ice, from Xul. A fruited sour (that lived up to the name, in terms of tartness), it was almost pink tinged, made from watermelons, mangos and pineapples.
Another acquired taste is Darkest Hour, existing somewhere between metalcore and Black Dahlia Murder. Lots of action, as the two guitarist crisscross the stage (one wearing a cut-off Whitesnake tee). They just plough through the material, never stopping to interact/talk to the audience. Don’t usually get a blackened stage, pre-recorded acoustic guitar interlude, mid-set break, in a 40 minute slot, but there was one today. Perfect time for a refill.
Imprint’s Monstro Di Pizza (named for the onside pies they also serve at the brewery), is a 4.8% Pils, lighter shade (verging on white), it’s completely hazy, with a frothy head, even for a 3 oz., pour from an already open can. Thin Man is a offshoot of Buffalo, NY based Smolder City Brewing, both owned by the same guy. The 6.6% Sci-fi Hamster Wheel IPA is opaque, with more sweetness than the usual IPA taste. New Trail, out of Williamsport, PA had a Crisp Lager.
At 4.8% in a nondescript can (blue writing on an otherwise white container, no photo/image) it almost looked like a Liquid Death (water) product. It will not inspire point of sale/onsite sales. Its (lack of) taste is just as uninspired. Have had light beers, even non-alcoholic options with more flavor.
Pig Destroyer have plenty of bite, starting the set with the sound of breaking glass. The grindcore outfit got the crowd on the floor into the action, almost immediately. A pitchshifter was onstage, located at the front of the stage, between the vocals and two guitars. “Piss Angel” is dedicated to departed Brother Blake. Seems like a large contingent of today’s attendees were there, strictly for this band. Longtime fest supporters 3 Floyds and Warpigs were once again in Philly, with their hi-test options that I try to avoid. Smolder’s 4.2% Strike Anywhere pilsner might be on the lighter side, as opposed to Nepenthe’s 7% traditional flavored Space Jellyfish IPA.
Have not seen Dismember since they played the BW&BK 6-Pack Weekend, back in ’04. True, they disbanded for a number of years and since the reformation have only played a handful of dates stateside, and just in the last two years. Had a chance to speak with Fred Estby (drums) beforehand. Hope we’ll meet again soon, as the band sounds great and seem hungry, once again. “Fleshless” begins the onslaught. Silver haired Matti Kärki is center stage, behind the mic, and Estby secluded by a wall of drums.
“Casket Garden” follows, the bass/guitar interplay manna to ears absent those classic riffs. Afterwards, Kärki coyly asks, “Do you like Iron Maiden?” Cue huge response. “Our tribute to the best band in the world, off Where Iron Crosses Grow,” onto blue/green hued “Tragedy Of The Faithful”. complete with wisps of fog/smoke. As the gallop kicks in, Matti deadpans his best Bruce Dickinson imitation, “Scream for me Philadelphia!” Glad to see learn they’d play this (and the title cut) from an album that takes a little more melodic approach than the early classic. Was also the disc instrumental in my decision to put them on the 6-Pack, having witnessed the set, a year earlier, in Europe.
As the night continues, favorites come and go, almost as freely as the two guitarists interchange sides. Matti remains close to middle ground, shaking his long hair, playing a little air guitar and outstretching his arms, as if he could embrace the entire gathering. When he does go mobile, he takes the mic stand with him. By 10:30, all the beer stalls have closed for the night, attention solely on Dismember, which means more pit action on the floor.
“Skin Her Alive”, “Dismembered” and “Bleed or Me” are all there. How do such personable guys write such “evil” lyrics? The night is capped with “Dreaming In Red”. Great to have Dismember back again. Let’s keep it going guys!
Additional Day 1 photos:
The post DECIBEL METAL & BEER FEST 2025 – Day 1: Remember Dismember? Bits & Pieces, or Large Chunks? appeared first on BraveWords - Where Music Lives.
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As with the bands, there’s always one or two that stand apart from the rest. Apart from the headliner, the Day 1 line-up was something of a “Puppet Show Vs. Spinal Tap” mis-billing, the variety and quality of the libations superseding the top billed music.
Like the start of the old Flintstones cartoon, the quitting time whistle sounds and people head to The Fillmore. By 4 PM, the doors are open and half hour later, the first band, Philly based Unholy Altar, is onstage. A two-guitar, corpsepainted black metal outfit comprised almost entirely of women (lead guitarist is lone male), they began with a drone of guitars and the anguish cry of the singer, Desecrator.
“Black Winds Of Nocturnal Dismay”, “Descent Into The Abyss” and “Judas Iscariot” are up early and give a sample of where they’re headed, thematically. Early on, Desecrator never moves far from the animal skull adorned mic stand, swaying back and forth. Eventually she coils and uncoils the mic cord and ventures stage right. There are matching candelabras, on opposite sides of the stage, as well as standalone candles and plenty of incense, to start.
Upstairs, which is reserved for those purchasing the more expensive “Beer” ticket (which allows unlimited sample pours for all but the highest octane choices), the space is practically empty, compared to past years. Major players like local behemoth Yards, are noticeably absent and the usual bump-into-one-another spacing doesn’t exist (at least not yet). It’s a long night, so start small and work your way up. Baltimore based Nepenthe Brewing has a 4.3%, transparent yellow colored American lager called Mallet, which is slightly see, to the taste. Germantown, PA Attic Brewing has been one of my favorites, in years past, as well as supporting the scene, by hosting concerts, onsite.
This year, they have collaborations with Exodus and Incantation. The opaque, 5.4% Blood Ale is a red IPA in conjunction with the Bay Area legends. It features the Exodus logo, vertically displayed on the can, as well as a variation of the original Bonded By Blood twins, on the label. The other, Mortal Brew Of Nazarene, is a light colored, 5.2% pilsner.
From Indianapolis, Mother Of Graves is something new in the fest canon. Over the years, there seems to be a formula for the fest. First band is always a black metal outfit. There will be an oddball pick and a hardcore band, an older, reactivated band and a few newer death metal acts, etc. Can’t recall a doomy, atmospheric death acts, similar to the hallowed UK trio: Paradise Lost, Anathema & My Dying Bride. In fact, the singer wore an old Anathema tee onstage. Musically, the Graves are closes to Gothic era PL: heavy, belabored tones and bellowing, but clean vocals.
Lumbering “Gallows” opens, signaling the pace for much of what will follow. There are two guitars and vocalist Brandon Howe doubles on keyboards, situated at the lip of the stage. “Tears Like Wine” is also aired early in the set. At one point, Howe dedicates a song to his wife. The “Shatter The Visage” finale gets upbeat and aggressive, unlike what has come before.
Trve Brewing is a returning contributor, this year with four varieties. Arise is their 5% German Pils, light in color, transparent and smooth. One of the few choices here made for all day drinking, not merely sipping (and given the prices most of these command, wouldn’t want to merely down them). Imprint, from nearby Hatfield, PA had something entitled Schmoojee Blackberry Chocolate Ice Cream Smoothie, a 6.5% sour. It definitely is not “sour” to the taste. In fact, the entire “sour” category allows for more creativity.
Looking like its namesake, melted ice cream, the berry taste is more prominent, with just a hint of chocolate. Even the Imprint reps agreed, this one’s not for drinking all day, but rather an occasional curveball. Speaking of sours, Knoxville, TN based Xul (umlauts over the U) not only returned, but brought back one last year’s best entries, the PB & J Mixtape. A purple, berry looking concoction that tastes like peanut butter, with an aftertaste of grape jelly. While not a huge fan of actually easting peanut butter (after daily sandwiches for most of my youth), there’s something special about this one, if you can find it. Again, best in small doses.
Maul came a long way, from Fargo, ND. Garrett Alvarado sent the first song out to “his indigenous people.” A two-guitar outfit, with the bassist adding some vocals. The music is a mix of death metal and hardcore inspired Pantera (Trendkill and later) thrash. Alvarado stalked the stage, side-to-side, like a caged beast, but at one point he conceded, “Come on, I’m from North Dakota.” He’s ambidextrous with the mic, freely switching hands (which is the bane of photographers, trying to get an unobstructed shot of the singer’s face). At one point, they ran through four consecutive tracks off the In The Jaws Of Bereavement CD, including “Blood Quantum” and “Stuck, Stomped and Smeared”, which was just released as a video.
In this crowd, sort of felt out-of-place without any facial hair: seems almost requisite. Tonewood is from nearby South Jersey (represented her by the female brewing consortium, Empress Rising). The Witbier had a hazy, translucent consistency, but would be hard pressed to identify it as a wheat beer (and I drink that style almost exclusively, overseas). Better foreign options included Magnanimous Brewing’s (Tampa, FL) Boneyard Rampage, a collaboration with the band Devil Master (who played Saturday).
A 5% Kolsch, it has a light, yellow hazy and slight sweetness, despite being housed in an all red/black can/litho. An Alluring Deceit, Midwest Death Helles Lager was offered by Adroit Theory (another returning customer to the fest), in collaboration with Maul. The 5.1% was translucent yellow, with a hint of bitterness in the aftertaste. Best of this overseas bunch, Xul’s Handsome Devil, made with New Zealand hops. It was clear, almost colorless, with a strong, refreshing taste. Very surprising!
Speaking of the unexpected. On the surface, Vastum is another guttural death metal band, but 6+ foot frontman Daniel Butler is a wildcard. As they start, he runs around the stage, splay legged, high stepping, knees up, like toying with a toddler in the surf. He makes the spasmodic antics of Napalm Death’s Barney Greenway look like ballet, in comparison! Even before the first song is over, he jumped into the photo pit, with mic and cord trailing, towering over the crowd, as he sings atop the barricade.
That’s not enough, so he repeatedly launches himself into the crowd, still tethered to the stage, and not missing a lyric. Once he returns to the rest of the band, he whips himself overhead with the mic cord, removes his shirt (but keep the vest) and progresses with the rest of the set, sometimes wandering aimlessly, then bursting into fits of hyper activity.
Party Pils is a hazy, but translucent, Toxic Avenger, neon green/teal colored elixir from Empress Rising & local brew pub, Human Robot. Other off the beaten track offerings included a 7% Blistering Eternity IPA (made with Columbus, Strat and Zappa hops), from Trve. While light yellow in coloration, it was cloudy, nearly opaque. Eternal Champion were one of the weekend’s most anticipated appearances. Not sure the same could be said of their beer choice: a 6.66% Blood Ice, from Xul. A fruited sour (that lived up to the name, in terms of tartness), it was almost pink tinged, made from watermelons, mangos and pineapples.
Another acquired taste is Darkest Hour, existing somewhere between metalcore and Black Dahlia Murder. Lots of action, as the two guitarist crisscross the stage (one wearing a cut-off Whitesnake tee). They just plough through the material, never stopping to interact/talk to the audience. Don’t usually get a blackened stage, pre-recorded acoustic guitar interlude, mid-set break, in a 40 minute slot, but there was one today. Perfect time for a refill.
Imprint’s Monstro Di Pizza (named for the onside pies they also serve at the brewery), is a 4.8% Pils, lighter shade (verging on white), it’s completely hazy, with a frothy head, even for a 3 oz., pour from an already open can. Thin Man is a offshoot of Buffalo, NY based Smolder City Brewing, both owned by the same guy. The 6.6% Sci-fi Hamster Wheel IPA is opaque, with more sweetness than the usual IPA taste. New Trail, out of Williamsport, PA had a Crisp Lager.
At 4.8% in a nondescript can (blue writing on an otherwise white container, no photo/image) it almost looked like a Liquid Death (water) product. It will not inspire point of sale/onsite sales. Its (lack of) taste is just as uninspired. Have had light beers, even non-alcoholic options with more flavor.
Pig Destroyer have plenty of bite, starting the set with the sound of breaking glass. The grindcore outfit got the crowd on the floor into the action, almost immediately. A pitchshifter was onstage, located at the front of the stage, between the vocals and two guitars. “Piss Angel” is dedicated to departed Brother Blake. Seems like a large contingent of today’s attendees were there, strictly for this band. Longtime fest supporters 3 Floyds and Warpigs were once again in Philly, with their hi-test options that I try to avoid. Smolder’s 4.2% Strike Anywhere pilsner might be on the lighter side, as opposed to Nepenthe’s 7% traditional flavored Space Jellyfish IPA.
Have not seen Dismember since they played the BW&BK 6-Pack Weekend, back in ’04. True, they disbanded for a number of years and since the reformation have only played a handful of dates stateside, and just in the last two years. Had a chance to speak with Fred Estby (drums) beforehand. Hope we’ll meet again soon, as the band sounds great and seem hungry, once again. “Fleshless” begins the onslaught. Silver haired Matti Kärki is center stage, behind the mic, and Estby secluded by a wall of drums.
“Casket Garden” follows, the bass/guitar interplay manna to ears absent those classic riffs. Afterwards, Kärki coyly asks, “Do you like Iron Maiden?” Cue huge response. “Our tribute to the best band in the world, off Where Iron Crosses Grow,” onto blue/green hued “Tragedy Of The Faithful”. complete with wisps of fog/smoke. As the gallop kicks in, Matti deadpans his best Bruce Dickinson imitation, “Scream for me Philadelphia!” Glad to see learn they’d play this (and the title cut) from an album that takes a little more melodic approach than the early classic. Was also the disc instrumental in my decision to put them on the 6-Pack, having witnessed the set, a year earlier, in Europe.
As the night continues, favorites come and go, almost as freely as the two guitarists interchange sides. Matti remains close to middle ground, shaking his long hair, playing a little air guitar and outstretching his arms, as if he could embrace the entire gathering. When he does go mobile, he takes the mic stand with him. By 10:30, all the beer stalls have closed for the night, attention solely on Dismember, which means more pit action on the floor.
“Skin Her Alive”, “Dismembered” and “Bleed or Me” are all there. How do such personable guys write such “evil” lyrics? The night is capped with “Dreaming In Red”. Great to have Dismember back again. Let’s keep it going guys!
Additional Day 1 photos:
2UnholyAltarDesecrator
3MotherOfGravesVox
4DismemEstbyEyes
5PigDestroySynth
6DarkestHourAxe
7DismemberMatti
8VastumAxe
9DismemberAxe
10MotherOfGraves
11UnholyAltarAxe
12MaulVox
13MattiCloseUp
14DarkestHourVox
15Dismemberguitar
16Vastum
17FredEstby
18PigDestroyVox
19UnholyAltarVox
20DismemberMattiHoriz
21MaulGuitar
The post DECIBEL METAL & BEER FEST 2025 – Day 1: Remember Dismember? Bits & Pieces, or Large Chunks? appeared first on BraveWords - Where Music Lives.
Continue reading...
