Melvins, Napalm Death & Weededer Plug in Loud & Stolz during Orlandos “The Savage Imperial Death March Part II” Tour Stop (Show Review/Photos)

The wild imperial death of March II The tour held on Friday in Orlando, Florida, for a night full of significant, versatile heavy skirt of icons that have been playing sweaty clubs for decades. But in front of the swing the night opened with a strange set by Dark Sky Burial, a side project by the Napalm Death Death Bassist Shane Embury.

Embury played environmental music, while occasionally beats on electronic drums and called hypnotic chants into the microphone. The booming noise constantly swelled and called out a soundtrack to an experimental horror film or background music while walking through a haunted house. Most fans did not know what to do with the music-man cannot do Mosh or Head Bang to Ambient Drone-NASO and waited that something interesting happened. Dark Sky's funeral is a strange choice to open a loud rock show, but with these bands, strange decisions are not so surprising.

The North Carolina Sludge Metal Band Weededeater has built up the confused amount with a set of Raucous Metal. The music of the trio, which is characterized by shift in tempos and atypical rhythms, is inspired by the Melvins. The band's set focused on two albums, 2007's, God happiness and good speed and 2011 Jason … the dragon. Bassist Dave Collins screamed and screamed as he lay down rumbling grooves that fit the guitarist Dave Shepherd. Collins played with an antagonistic attitude, suggested his bass and head, turned the crowd and introduced the songs as if they were in jokes. “This is a song about a damn sandwich,” he said, before the band tore itself into “Türkiye Warlock”.

A circular pit formed and lasted during the largest part of the set. WEEETEATERS STONER METAL was thick and powerful, with clubs from grooves and feedback walls that booked every song. The band's tour manager, Ben Jones, joined the stage and took over the singing of “Time Sent” and offered a different cry than Collins. Weedeater closed her set with a fiery reproduction of “Weed Monkey”, which ultra slowly began and exploded to a quick jam.

Melvins gave the best performance of the night with a mixture of heavy songs that extended over the 42 years of the band. The pioneers of mud metal and the Seattle Grunge scene are usually a trio, but the large business drummer Coady Willis has joined Dale Crover to double the drums. Melvins' sound is based on different cads, often in odd time signatures with frequent pace shifts, and the two-cut attack added even more weight to the mighty rhythmic attacks. Croon and Willis remained synchronously all night, including complicated earfills, with the exception of some drums solo battles in which they exchanged and tried to start each other.

Buzz Osborne pushed the stage and cracked legendary guitar riffs, switched between slow Tucks, Speed ​​-Metal -Thrash and Histrionic Soli. His boomer Bariton brought songs such as “Billy Fish” and “It's Shoved”. Steven McDonald played thick bass -grooves and sang, provided the backing singing and sang the groove Jam “A History of Bad Men” in the lead. Although every song was difficult, the versatile set of Melvin's ability to create an endless variety of severe sounds. “Blood Witch” was an apparently slow border, while the frenetic “honeybucker” Osborne and McDonald delighted the crowd with glowing riffs. The Mid Tempo-Tucker Riffs from “Revolve” perfected the middle ground between these extremes. The band closed the 70-minute set with a dynamic reproduction of “your blessed”, which changed between loud and soft moments and ends with crovers and Willis struck through a bone-rattling drum-off.

It is difficult to exceed the versatile, virtuoso performances of a Melvin set, and the Napalm death was unable to end the show with a set, all of this up to its most extreme. There was no shade or variety. Everything was loud, fast and aggressive. Although there are no founding members in the death of Napalm, singer Barney Greenway and drummer Danny Herrera have been in the band since 1989 and 1991.

Some fans went after the Melvin's performance, but the majority that Mossed and remained on Napalm Death's angry set of relentless grindcore power. The band's wild energy on Breakneck -Ragers such as “infection” and “multinational companies, part II” created a frenzied atmosphere with hazard pleasure. Greenway was in eternal movement and only considered the joke between songs. At all other times he drove, went up and down like a cage and kept his head nervously, always with the body language of someone in the middle of a collapse.

“You may be wondering what we are doing up here and all this terrible noise,” said Greenway a few songs in songs, Greenway made political explanations against Trump, capitalism and the British government. He put “suffering the children” as “the little people who do these things in a factory that are supposed to improve our lives but do not do them, but they don't.”

The guitarist John Cooke hammered through Rapid-Fire riffs about Herreras hyperkinetic jackhammer drums, while Greenway unleashed incomprehensible throaty screams. If the Melvins set was eclectic rhythms and musicality, the Napalm Type of Dead was anger. What was missing was made up for in raw aggression, and for fans on the same wavelength, the Grindcore veterans held the swing and closed the frenzied show with a high note.