Extreme Emotion and Captivating Musicianship: Vitriol’s Prolific Performance at Supply and Demand in Long Beach
December 3rd, 2021
Discovery. From the most coincidental accident, to the perfect storm, we often cherish some of our most favourite, memorable, lasting discoveries, with recollective nostalgia. From remembering the first time you saw your team make that clutch play, seeing your precious, childhood film, with all of the soda and Butterfinger chocolate you can drink and munch on, these discoveries can make a lasting impact. Sometimes, discoveries can occur unexpectedly.
Wind back the clock to December 20th of 2019, my interview with Kelly Shaefer of Atheist at The Glasshouse in Pomona. During our talk about drum sound in modern Metal, Kelly mentioned Vitriol, calling them, “just fucking unbelievable.” And, “One of the best drummers I’ve seen in a long time.” Hearing Kelly speak so glowingly of Vitriol, I paid attention to that, and seeing them open up the show, I knew within less than a song, the praise was completely justified. Compelling song structures, that are played tightly, yet with a loose sense of chaos, as well as sheer, relentless anger seeping through the vocals and notes. Purchasing their debut To Bathe from the Throat of Cowardice immediately after the show, was priority. And after seeing Vitriol both So-Cal shows touring with Vader and Abysmal Dawn a few months later, I came to connect with the music, the mission from the band, and the furious detail that they present.
One Covid-19 later, a Psycho Fest appearance, and a short West Coast headlining tour after their opening stint with Dying Fetus, Vitriol would make a stop once more to Southern California, and tonight’s sparkling event, was to be another dose of quality Death Metal galore.
Supply & Demand, formerly the Blacklight District, remodeled for only the brave and the bold to enter. And for this spectacle, the line and venue were well packed to this point, positive to see the tour with Dying Fetus carrying over the visibility. For the ones not named Dying Fetus, Immolation, Cannibal Corpse and the like, the more these special headlining tours stay this packed and alive, the greater regularity of it can be a stronger possibility.
Starting off the show at 9:30, Vindictive Amputation, a Death Metal band that has all the Carcass and Aborted approval, in majestic, gore medical song titles and names. A few in the crowd unfamiliar with this magical concept, were highly entertained by it, and looked forward to each of the song titles named. The sound equipment, throughout the evening, was no less than substantial. From chunky, palm-muted riffs, gurgling vocals, to intense Gore/Grind blasting, Vindictive Amputation’s stage presence impressed much in the audience, with enough groove between counterpoints, to keep the crowd engaged and present. While the intensity kept high, the lack of different changes within the riffs overall, felt dragging around the end of their set. The lack of variety in subtlety and mood, kept me along for the ride, but feeling slightly ho-hum after 25 minutes. I’d like to see different material from Vindictive Amputation down the line, but at least for now, a decent opening act tonight.
The only three piece tonight, Death Metal/Grindcore from Los Angeles, Swampbeast, met with a warm welcome as the venue continued to fill up. Swampbeast’s diversity with tempo, thick guitar tone, and varied vocal work, left me eager to hear the next track after next. While Griffin Werk’s growls and command of the fretboard was certainly a plus, in no way to be shoved aside, drummer AND vocalist Mareco’v Mena’s performance, was no question, impactful and one of the strongest highlights for this entire show. Providing backup vocals while drumming, is a difficult task. It’s another plateau to switch off long stretches of vocals with Werk, while simultaneously blasting. There’s a reason why you don’t see this practice in extreme Metal often, the amount of stamina to pull this off, as well as play tight and aggressive, it should be commended and appreciated, to the highest degree. It was unfortunate that Mena’s microphone level was low in the mix, but seeing it in the flesh, is still believing. Werk’s guitar work contained a lot of the Grindcore chords you’d imagine, but threw in these mid-tempo Doom-y riffs, adding a haunting atmosphere to the low sludge sounding bass from Mike Royal. From the dedicated musicianship, sealed in a crest of ugly imagery of gore, Swampbeast put on a brilliant performance.
1. The One Below
2. Orcs Anvil
3. The Blind God
4. Convulsing in the Shit & Piss of Man
5. 1000 Years of Pestilence
6. Transmutations of Human Flesh
7. The Permanence of Death
8. Thy Flesh Sustained
9. Spell of Decay
10. The Flesh and Permanence
One aspect of music, amongst others in life too, that I cherish more than ever: able to change your mind with new data, emotion, and perspective. Performing before the main event, I had seen Teeth open for Cradle of Filth in late October, and while I found their set to have bright moments, something didn’t click right away for me, leaving my experience to be somewhat over-shadowed from the rest of the bands. Tonight however, my experience and opinion of Teeth, surely changed. The energy from this intimate venue, alongside an extra level of fury I personally didn’t quite feel from the previous show, as well as remembering those key moments I enjoyed, it pummeled my senses right from the start. The dissonance in the chords I vividly recall, not only sounded louder, but being this close to the band in this setting, the fire blazing through the music was infectious. This exact Death Metal setting, is exactly the apex predator of shows to see Teeth in. Erol Ulug and Justin Moore’s vocal/guitar trade-off boomed off the PA, while letting those demented notes ring out in between the lyrics. The small details I had missed previously, were present and marked tonight. The mid-tempo to glacial riffs packed an enormous punch, and it added an extra layer of character and prowess to this Death Metal sound. Those exact riffs taking a back seat to the effortless bass drum assault of Alejandro Aranda, allowing the music to breathe, yet still keep the listener on pins and needles for the next transition. Teeth released on Bandcamp, an EP in mid-November, Finite, and hearing the band in a brand-new perspective, I anticipate this EP will be a quality release, and eager to hear this sooner than later. This performance was levels above their previous for me, and knowing now what Teeth are capable of, it’ll be a matter of time until they’re booked on many more Death Metal shows in 2022.
Despite the slightly late start of the show, with the last set to start at 12:15 AM, as well as a small amount of the crowd leaving perhaps because of it, the heavy majority stayed in attendance for the last, and absolutely not least, performance of the night. Finally seeing Vitriol headlining a show, it’s only justice and justice would be due for this. The moment Vitriol took to the stage, a wave of anxiety and pressure filled the air. It’s been nearly 2 years seeing the band perform, and it took only a few seconds to be properly reminded how vicious they play.
New members of the group, guitarist Stephen Ellis, and former Hate Eternal, Abigail Williams, The Faceless drummer prodigy Chason Westmoreland, were more than present in bombastic energy and sheer annihilation of the material. Matching frontman/guitarist/vocalist Kyle Rasmussen is no small feat, and seeing Ellis move around the stage effortlessly playing mostly rhythm, gave assurance Vitriol continues to level up. I especially smiled with no thought watching Stephen and the band quote the bleak movie intros from the PA, word for word. This vortex of despairing emotion, particularly in the beginning of “Violence, a Worthy Truth”, held many of the cheering fans in a state of stillness. The amount of colour, vibrance, and texture in this blend of complicated Death Metal, is that signature roller-coaster you don’t tire from. Even when you preempt that pitted feeling your stomach feels on ‘the’ turn, that feeling turns different than you remembered from time’s past.
My level of admiration for drumming in Extreme Metal and music, went up tenfold perhaps the last couple of years or so, and even seeing videos online, until you see it in person, you still take for granted how generously spoiled we are as fans. Chason’s skills were on full display, from the breathtaking cymbal work in his arsenal, non-stop frenetic double-bass that almost did not stop the entire 45-minute set, to the double-time fills in between transitions and verses, all played with a clean touch, and Mjolnir’s surmising, stunning ability to quake the Earth. The invoking power Chason performed this set, it’s no accident and wonder, his abilities in Infernus left no stone unturned. Although currently credited as Vitriol’s live drummer, I truly hope Chason permanently stays with the band. I never thought Vitriol could achieve this level of remarkable Metal status like this, and when you have a drummer as profound as Chason, any advanced level desired by your band, is most certainly possible.
Rasmussen’s and bassist/vocalist/founding member Adam Roethlisberger’s sheer technicality and positively emotionally-driven anger onstage, still a gem and highlight to remember. The vocal work is close enough to 50/50, while nailing all of their notes, screaming furiously in between riffs, it’s clear as day their creation of Vitriol is certainly theirs, and how they present it live, is certainly different than many other acts out there. “I Drown Nightly” a compelling example of the furious pace of Vitriol, and the minimal effort between Adam and Kyle fluidly playing, while allowing the constant tempo changes to shape their stage presence, and not missing a single beat. Adam’s bass fret tapping allowed the rhythm sections to feel louder and punchy, creating a continued level of dissonance. The ending bridge riff right before the solo, those intricate note motions that create this wave of harsh melody, continue to quench my thirst of differently made, Extreme Music. Kyle’s unique, driven solo style, inspired from an eccentric list of guitarists, create this puzzle of wonder and time escape, as they both occur swiftly alongside one another. From tremolo picking, massive note bends, chaotic tapping technique, all rolled into this colourful volume of tone, his style is breaking the mold of what Extreme Death Metal can sound like.
“The Parting of a Neck”, Vitriol’s current ending to their set, laid the fans to waste with a lasting mosh-pit, and an end to their quick 45-minute performance. Time flies when you’re having fun, an expression that feels true and accurate. Minutes after Vitriol putting their equipment away, a numerous amount of fans expressed their joy and talking with the band members, seemingly engaged in their set, with Adam selling merch to many in line. Just wonderful vibes to end this explosive Death Metal evening.
Often more than the discovery, it’s the memories of where you were, how you were introduced, and the special nostalgia of those said discoveries, that can be just as precious and heart-warming for your being. Kelly Shaefer himself recommending Vitriol several moons ago, and now have seeing them 4 times already, it’s been a pleasure to connect to the sonic-induced anxiety attack that Vitriol puts forth in their style. And anouncing a day or so ago that they’ll be on tour with Defeated Sanity early next year, so much to look forward to in 2022, and another Vitriol epic performance lying in wait.
1. A Gentle Gift
2. Violence, A Worthy Truth
3. I Drown Nightly
4. Legacy of Contempt
5. The Rope Calls You Brother
6. Hive Lungs
7. Victim
8. Pain Will Define Their Death
9. The Parting of a Neck