Lagers, & Tripels & Bocks, Oh My! Off to see the brewing wizards... The brick road will turn yellow, inevitably. While the musical landscape and microbrew selections both veer towards darker heavyweights, attendees will find something for even the most discerning palette. That said, nothing satiates everyone. With both music and beer, some are more fringe, acquired tastes that appeal to only a small subset. Welcome to the two-day extravaganza: uncompromising tastes, uncompromising music!

Perhaps the only craft with more sub-genres than heavy metal is beer making. Like music, everyone wants to be seen as original/unique. So we get a jumble of (seemingly) randomly generated descriptors to quantify each beverage: "hand-crafted Belgian hazy roasted wheat IPA, infused with dandelions"... or some such nonsense. Pink and blue are cropping up amongst the usual ambers, brown and darker hues. As with music, doesn't really matter what it's called/how it's brewed. Does it stir the senses? If so, enjoy, regardless of who else does/doesn't. Taste (in this case, literally, taste) is subjective. OK, to the neighborhood, must have looked like central casting put out a call for biker gangs, convicts and psychopaths, but like Hollywood, it's all make believe. Despite the fear and loathing looks, we are a well behaved crowd, even with all that alcohol flowing. Most are wearing the colors, although even Hypocrisy and Death shirts are a little too mainstream for this bunch, bedecked in a sea of monikers that more closely resemble a tangle of frosted tree branches than any known alphabet. So imagine how the couple in the Pantera/Five Finger Death Punch merch must have felt.

The cry is, "Doors & pours at 4," so while most are still wrapping up the work week, Friday afternoon the Fillmore opens and by 4:30, Witching are onstage. Those that have purchased the more expensive "Beer" ticket option are given a plastic flight (3 oz.) cup and head upstairs, to the balcony, while those with the "Metal" ticket ($53 a day) remain on the floor. More than a dozen establishments ring the upper walkways, most offering two or three different beer choices. There seemed to be fewer vendors than in the past. Know it's been a rough time for many microbreweries. We've lost three in south Jersey in less than a year and the premise of paying to give away your product, over two days, isn't a great business model. But some chalk it up as an advertising expense and others have tie-ins with performing bands (beer designed specifically by a given band). Each year there is new blood (breweries debuting at the fest) as well as perennial entrants. Most have at least a passing interest in the metal scene. Seems fewer "outside the area" offerings as well, apart from the tried & true veterans. Know we weren't bumping into one another, fighting for space, in line, as in years past (at least not on Friday). 

Some vendors are well prepared, colorful pre-printed scrims/placards describing each beer in detail: ingredients, background story, ABV, etc. Some even have freebies (at least on Friday, until gone: openers, decals, koozies, etc.). Others seem so last minute, brands written in Sharpie, on the back of a cardboard box. Hey, they're beer makers, not marketing experts! The "Beer" ticket allows for "free" unlimited samples, although the super hi-test ABV is restricted, to one a day (by Decibel provided chit), unless you find someone, like myself, who stays away from the double digit alcohol contents, and is willing to donate their ticket to your cause. I also bypass the high powered meads (bless you Brimming Horn, for your perpetual support of this event. Even if I don't grace your stall, plenty of others do) as the remaining array is enough to dull my borderline artistic talents, without adding a 12+% Imperial Stout or two, to the mix. A suggestion, for the novices: start with those around, or under, 5% early in the day. Not just for longevity, but if sampled after indulging in the heavier, more potent beers, much of the subtleties in those lighter samples may be overpowered/lost.

First beer of the day would prove to be one of the best, courtesy of Camp Hill, PA based Ever Grain. Had sought them out or their blue/green concoction seen via the Decibel website, but alas, would have to wait until Saturday. Bait & switch, they offered Sorbetto instead, a 6% opaque pink liquid that looks more like a daiquiri (or a lighter colored Pepto Bismol, but no stomach issues here!). Includes strawberries, coconut and pineapple, it's a sweet treat. Next up, Apparition, a Munich Helles lager, from Trve Brewing (Denver, CO/Asheville, NC), at 4.5%, this yellow drink has an easy going taste.

Philly's own Witching were happy to be part of the festivities (saying so, from the stage),even if less than 50 people were watching from the floor. Fronted by Jacqui Powell, the sound isn't easy to pigeon-hole, as they began with solo, sporadic guitar notes, before charging into a mélange of speeds and dynamics. At times sludgy, others more bombastic, blackened thrash, often within the same tune, Powell utilizes screams and normal register for a more tuneful approach than expected. Long dread-locked guitarist Nate Zagrimanis is the most active. Like their Incendium album (also the title of their hazy IPA collaboration with New Trail Brewing: faded yellow 6%, with strong, but not overpowering hops), they ended with "So Young, So Useless".

At 4.4%, Attic Brewing's Profane (rice lager) was a godsend. A weak yellow color, but big hoppy taste, almost like an IPA. In fact, I had to question whether they gave me the right pour, thinking they might have mistakenly substituted the mild flavored 7.2% Cat Boss IPA. Rest assured I had the right sample, as he launched into an explanation that mentioned triple hopping and some special extract (tech talk I didn't completely understand). This is the kind of beverage for an all-day metalfest: 4.4%, but it tastes heavier, with big flavor. Problem with some of these discoveries is finding them, after the fest, as some (especially out-of-state shops) don't have distribution, nor offer mail order. Persistence is the order of the day.

Speaking of exports, Terminal Nation are beefy good old boys, from Arkansas. Only lead shouter, Stanley Liszewski has long hair, ingratiating himself to the crowd, with an opening declaration, "If you don't like us, go F yourself." The singer, really the only mover, onstage, wanders from side to side. The music is a dirty grind, with hardcore influence, but generally pedestrian. Top to bottom, today's bill is predominately about staccato pacing. Just past quitting time (5 PM) and the venue begins to fill up. Not sure why folks will buy $15 Bud Light (unless that's the only beer of the evening), as a few of those would make the "Beer" ticket option more palatable. To each their own.

Aggressive Menace is a tie-in between Magnanimous Brewing (Tampa, FL) and the band Enforced (who were up next). 4.5%, a pale lager. Pale yes, aggressive, no. A clear yellow color beheld a weak taste, although there was a bit of an aftertaste. Thankfully the namesake band delivered more...forcefully! Human Robot Brewing, in collaboration with Empress Rising (female brewing collective) offered Dust & Stone, a 4.7% smoked schwarzbier. True to the name, it was opaque, black in color, with a roasted taste. New Trail Brewing collaborated with Daeva, for a clear, 4.4% pilsner, with sweet taste. It takes all kinds, but not sure why you need to double fist free samples, as a few hoarders were witnessed doing, upstairs.

Yards' home base is just a few blocks away. They brewed something exclusive, just for the beer snob metalheads (there are a few). Horn Of Mountains is a 7.2% mango & habanero New England IPA. No plans to mass produce, any leftovers, from the weekend will be served in-house, at their tasting room, but nowhere else. Cloudy, initially docile on the tongue, but after a few more sips, the spice begins to manifest itself, slowly, subtly. Today, Yards also brought back a favorite from last year, Star Jockey. South Jersey's Tonewood, were a new entrant at the fest, offering two drinks, each day. Poolside is a 5.2% Mexican lager: smooth, almost clean, yellow and a smooth, almost creamy taste. Speaking of easy drinking, Kings County Brewers Collective (KCBC) always show up. This year, one of their choices was a collab with Crowbar (Zero And Below), a 4.4% pilsner: hazy translucency, not cloudy.

There was a noticeable step up in class, with presentation and sound, when Enforced hit the stage. Somewhat surprising, coming from Richmond, VA, that local heroes Lamb Of God aren't the calling card, but comparisons to pre-Roots Sepultura and/or Slayer divebomb guitars are warranted. Lots of flailing hair from all the musicians. Doubtful the two axemen moved more than 3 feet, total, throughout the set, anchored in place, delivering the powerful, twin leads. Frontman Knox Colby referenced their beer onstage, saying he'd already crushed five of them! Didn't slow him down, as he went on a little slam dance/skank across the stage, early on. When he called "time to do the laundry, go into the spin cycle," the fans obliged, with the first circle pit of the weekend. Later, he'd announce, "This is for real fucking rockers only, bang your fuckin' heads." Great, all-in performance! Three bands into the day, but might have already seen the best. Time will tell, but it's going to be hard to beat the intensity and conviction of Enforced.

Knoxville, TN based XUL Brewing had some interesting selections. Toro Y Oso, a 5.3% Mexican lager, might have been the most sedate. It earned silver medal at the Great American Beer fest. 3 Floyds had a lot of high potency options, so the clean Jinx Proof pilsner/lager (5.7%) was a somewhat safe choice. When the bands are on, the upstairs empties out and during the 15-20 minute intermission, everyone returns, and fills up. Little before 7 PM and some need to sit down. Stamina, folks. Game Face is a 4.4% German Helles, from Imprint Beer Co, out of Hatfield, PA. Transparent, light yellow, in color, there's a sweet hint of after taste. 

Internal Bleeding vocalist Steve Worley began the night on a ladder, between the photo pit and the stage. Once the music started, he headed straight to the fans at the rail and remained there for the entire set, singing inches from the faces of those in the front row. On the stage, the focal point is herky-jerky, thrashing Ryan Giordano, on hot pink bass. The self-professed masters of slam death, "Falling Down" offers a guttural mix of death and staccato hardcore. War Pigs Brewing (Munster, IN) had a 4.7% Helles lager, in conjunction with Dying Fetus (bastardizing the title to one of their tunes) Destroy The Hopposition. It had a slightly sour aftertaste. 

Time for a Maibock, an amber, verging on light brown colored, 6% collaboration between KCBC and Undeath, followed by Juice Lord, a 7.5% IPA from Magnanimous: very cloudy, very hoppy, with a tart/hop taste. Doesn't really look like conventional "beer." Oracle, by Trve Brewing is a 5.6% American pale ale. Jesus Piece were playing to a home crowd, familiar with their screamed hardcore on the likes of "Neuroprison" (dedicated to the "ADHD heads") and "Oppressor". After the first tune, Aaron Heard stripped off his shirt. Little variation in the dynamics from an all-out/angry set that saw him repeatedly call for circle pits and ultimately ended with "Curse Of The Serpent".

Haze Drip is a 5.7% (surprise) hazy New England IPA, light haze and slight tartness, from Imprint Beer Co. Some of these names... can you imagine any guy walking up to a bar and asking, "Can I have a Foggy Geezer?" Guess who shows up at your hotel room, later? Yet, something to that effect was necessary to try War Pig's 7.3% New England IPA. In the early/mid-Nineties, seemed like Crowbar was annually supporting Pantera, playing in town, at the Tower Theater (wonder how those seeds for Down were sown?). 

Still remember Todd "Sexy T" Strange on bass and the after party with Dimebag Darrell running through the balcony/bowels of the Tower, trying to persuade unsuspecting victims to sample his infamous Black Tooth Grin. Evil liquid. My how times change! Bearded Kirk Windstein (guitar/vocals) is still in charge of Crowbar ("My eyesight ain't good and I can't hear you") and this was a step back in time. Nothing off the most recent releases, they kick off with (rather) speedy "Self Inflicted" under a haze of purple fog. From there, the tone is down tuned, as is the pacing. Sliding the pick up the frets, Windstein starts twin lead "Existence Is Punishment", a thunderous plod, the pained lyrics resonating in his hoarse throat. Red lit "I Have Failed" begins with backs to the audience. That one might be the definition of "sludge." After blue hued "Planets Collide", there's an audience rendition of "Happy Birthday" (plus cake w/ candles) for Tommy, the drummer, before ending with a revved up "All I Had (I Gave)" finale, as close as the band has to a signature tune. 

Went to get another helping of Profane, but apparently I wasn't the only one who discovered that little gem, as the keg had kicked. Tried Attic's 5.2% dark Czech lager (Common Nightjar 13°) instead. Black as molasses, not quite a replacement. Last slot of the night belonged to Biohazard, another act I saw many times back in the early ‘90s, playing split bills with metal and hardcore acts. 

Spiked, blonde haired Billy Graziadei (guitar/vocals) looks pretty much the same (maybe a little more muscular), but Evan Seinfeld (bass/vocals) is the embodiment of The Illustrated Man, shirtless and inked everywhere. No fancy colorful "sleeves" for this guy, almost exclusively, old school blue, sailor's ink, as his naked torso vividly displays. Bobby Hambel (guitar) always reminded me of Luther, the villain from the Warriors film/Twisted Sister video. Not sure why. From jump (appropriate wording), the three are all over the stage: jumping, thrashing, twirling/pirouetting, all the time playing and singing, as yellow lights swirl overhead. Each seems to be in their own world, but it's a coordinated ensemble, switching vocalists on the fly and guitars trading parts. 

"Tales From The Hard Side" takes things to another level, getting the crowd to pogo in place, then green lit "Wrong Side Of The Tracks" continues the party, pierced by streaks of white light. Billy will put his foot up on the wedge monitors, Evan kneels at the foot of the stage, Bobby trades sides and jumps/spins as he plays. In retrospect, can hear how material like "Five Blocks To The Subway" helped pave the way for Body Count and the rap/rock that would take over, a few years after the fact. Every between song interaction is peppered with "colorful" language (regardless of which of the trio is speaking), as are many of the lyrics. A police siren wails and the stage turns bright red, to start "Urban Discipline". 

No let up, from Biohazard, as they progress to "Black And White And red All Over", bouncing and having fun. They demand a circle pit during their rendition of Bad Religion's "We're Only Gonna Die" (Seinfield says, "We're bullies. We stole it from them and told them they can't play it any more.") After announcing they'll make a new album, with the classic line-up, "Hold Your Own" brings the first night to a close.

Beers of the Day: Close call between Attic Brewing's Profane (rice lager) and Ever Grain's Sorbetto (strawberry/coconut sour ale), but the nod goes to Profane as an all-day drinking beer. Found myself returning to it, rather than sampling something else and it's low ABV is a wise choice. Special mention to Yard's, for bringing back Star Jockey, one of last year's standouts (and therefore not in the running for 2024 honors). Always worth it, even at 7.2% ABV.

Bands of the Day: Biohazard deserved to be the headliner, exhibiting more energy and movement onstage than the rest of the acts, combined. Not bad for "old men!" Enforced deserved to be higher up the running order and Witching were a nice surprise.

DAY 2
Despite the event's longstanding moniker, they continue to push both the boundaries of "what is metal" and "what is beer." In fact, there's always been mead, even the occasional barley wine, but marshmallow smoothies? Even with alcohol content, doesn't qualify as beer. Tasty though, Imprint's Schmoojee Marsh Madness Berry Double Marshmallow (6.5%, supposedly a "sour")): opaque, crimson froth with a sweet taste of candy. Appears to be a bigger audience than yesterday. Some vendors, especially those from great distances, can't swap their products as easily as more local providers, so overall there are fewer "new" choices, although those who only bought the Saturday beer ticket are seeing it all for the first time (but some of Friday's offerings, and many of the swag/promo items are also gone). Thanks to Yards for augmenting the line-up with another returning champion: Bit Viper, a hazy, citrusy 6.5% NE IPA.

Speaking of good locals, Philly's Daeva opened Saturday (half the band is also in Crypt Sermon). The one guitar foursome owe a bit to early Norwegian black metal, although these guys are more proficient players. Edward Gonet (pained, phlegm vocals) even slightly looks like Dead (ex-Mayhem singer, minus corpsepaint) in black leather jacket and bullet belt, as he contorts about, at obtuse angles. Beginning with "The Architect And The Monument", by "Passion Under The Hammer" they alternate between spirited, guitar runs and maniacal screams. It's all out chaos for "Loosen The Tongue Of The Dead", just like their mentors. Interesting.

Advance "hype" had Ever Grain's blue (yes, you read that correctly!) collaboration with Tomb Mold, as THE beer to check out. 6%, listed as a fruited Gose (sour), tasting anything but. Neon blue/green in color and decidedly blueberry in flavor, The Inebriating Spirit, was as unconventional as the Toronto musical outfit. If any of the numerous beer/musical partnerships on display throughout the weekend TRULY match taste/sound, it was that one! Trve (who bill themselves as a heavy metal brewery) rotated in Starless Age, a 5% Vienna lager. Translucent amber to brown in coloring, it has a slight bit of roasting. 

Fresh from an appearance at the Hell's Heroes festival, Lamp Of Murmuur sport robes, chains and corpsepaint, with half-face shielding veils. Total props for doing the entire facepaint, then obscuring below the nose with either a handkerchief or chain mail/metallic veil. "Harbinger Of Blasphemies To Come" is an apt description and rightfully is placed as the first track aired. Throughout the 30 minute set, for the long instrumental sections, the sound was first rate, inter-cut by black metal vocals. A two guitar quartet, the band Midnight has definitely schooled folks how to rock out/emote, while dressed in faceless attire. The Lamps heed the lesson. By the time they ended, with blazing (in a Northern sky?) "A Burning Spear To The Heart Of Dawn" (one of those aforementioned, that concentrates on riffs, more so than lyrics), they'd won over the ever thickening crowd downstairs. In small doses, like this, great stuff.

Other goodies, XUL Beer Company's PB & J Mixtape. No, it's actually a beer, but it uncanny tastes duplicates its namesake sandwich: peanut butter, with a smidge of grape jelly. The PB is dominant and in small doses, an amazing taste treat. Don't know that I could drink an entire 12+ ounces of the stuff, in one sitting, but as a palette cleansing intermezzo, especially at events like this, AMAZING. Widowmaker Brewing (Braintree, MA) had a 4.5% Secartha pilsner, made with Massachusetts grown hops. It was light in color, mildly tart, on the tongue. Much more bold, hoppy taste, was Trve's Citra hopped Scorn, a refreshing pale ale at 5.5%.

Will Haven is a name I've seen around for decades, but never had the opportunity to witness firsthand. Their hardcore influenced take (low slung guitars, practically scrapping the deck of the stage) on a slow, hypnotic grind is interspersed with spurts of action, especially from frontman Grady Avenell (who goes to the Barney Greenway/Napalm Death school of awkward/asymmetric stage movements, yet could pass for actor Alec Baldwin). This was not their crowd, as downstairs thinned out noticeably, once they were on. Began with blue/purple lit "When The Walls Close In". Knees bent, Avenell screams as he does bend-at-the-waist headbangs, his body 90 degree to the audience. Lot of jangly, staccato, open chord delivery, with Grady's shouts on top.

Widowmaker also had something called Blue Comet (an opaque, 7.1% double IPA). Their stall was situated near to Ever Grain (with their blue colored beverage), so I'm sure some just saw the name and then came away somewhat disappointed (by the lack of color), although before the night was out, so was Ever Grain's azure punch. Curiosity and a pleasant initial experience conspired to make it so popular, it was an early casualty. On to Imprint's 4.5% Czech lager, which produced decent foam, dispensed from an already open can. Couldn't really understand 200 Stab Wounds' placement on the bill, a name I was completely unfamiliar with. Red lights seemed appropriate for "Itty Bitty Pieces", lots of pin wheeling hair, to start, as they call for a circle pit. Nothing wrong. Competently performed death metal and sufficiently convincing, just don't get what separates them from countless others that could have been here, in the same place. Same is true about some of the options upstairs, in the tasting room. Tonewood's Wading Out was sort of a fish out of water. A clear yellow, 4.5% American lager, in this crowd was uninspired. Luckily they also brought along their flagship Fuego, a zesty 6.2% American IPA.

What is it about Canadian drummers, who also sing? Triumph, Exciter, Tomb Mold. Being ambidextrous isn't enough? Have to cloud the mind with yet another multi-tasking skill? Bet most of those guys were ice hockey goalies, in Juniors, too. Didn't pick an easy style to double up on either, as Tomb Mold is a two guitar four piece, a funky, sometimes schizophrenic, progressive jazz/black metal hybrid. A gore Primus, if you will. The sound is as far afield as blue beer is, see the (dis)connection. Add to that, the vocalizations (is he actually singing lyrics?) of an early Obituary/John Tardy variety, intonations to the hyperbolic entitled tunes, like "Gored Embrace (Confronting Biodegradation)". Most of the set was played under a thick blue haze. "Fate's Tangled Thread" came on the heels of the "Will Of Whispers" opener. "We are Tomb Mold, from Canada," was the spoken word introduction, in normal voice. Take off, from there. Instead of a normal backdrop, they re-created your computer's Blue Screen Of Death, personalized. Intriguing to experience live.

Judging by the size of the crowd, as well as rabid response (anecdotally, lots of stories in listening to fans, about the distances people came), appeared Dying Fetus was the popular choice, lured by the promise of an exclusive "old school" setlist. A trio, where two of the guys do vocals, guitarist John Gallagher (no, not the Raven mainstay), and occasionally bassist Sean Beasley. They opened with "Justifiable Homicide". Their call for circle pit descended into barricade crashers for the first time tonight. Is the LD awake, or on beer break, as it's more of that omnipresent blue haze. Thankfully, it quickly expands to greens and reds (despite the latter being the bane of most photographers). Punishment continues with red stained "Praise The Lord (Opium Of The Masses)", which features some two handed tapping, courtesy of Beasley. True to their word, old school, blue hued "Eviscerated Offspring" was up early. Ditto "Intentional Manslaughter", saving the brutality, of red shown "Killing On Adrenaline" until the tail end. Most voiced their approval, afterwards.

By 9:30, upstairs, many of the vendors are packed up, if not already vacated the premises. The end of the night is typically a "fire sale," many not wishing to cart the rest of their product home and full cans are often given away, free. It's all in the timing and establishing an ongoing relationship, throughout the weekend. KCBC still had a few tricks left, including one of their flagship beers, a 6.9% West Coast IPA (despite their NY home) called Venomous Villains, as well as a strawberry sour (5.5% pink/red opaque Marble Of Doom III). 

Deicide were here to recreate the best from their initial trio of early-to-mid Nineties albums. They stand with backs to the crowd, then walk forward as Glen Benton launches into "Once Upon The Cross". The firebrand vocalist/bassist is center stage, although the two flanking guitarists also have a bunker, surrounded by a trio of wedge monitors. Over time (and those that weren't born back then) may forget how vile and blasphemous titles like a particularly animated "Behead The Prophet (No Lord Shall Live)" and "Christ Denied" were, at the time. 

It's also amazing how well this violent music can now be presented (on a big stage), especially if one recalls the horrendous noises that emanated from club speakers, at the dawn of the death metal age. Typically, Benton utilizes a gruff, gurgling vocal, but then (as in "Kill The Christian") he sudden adds a higher pitched, maniacal shriek. The bassist often stays centrally located, with only minimal paraphernalia that would suggest his position as a metal frontman: large curved animal tooth on a chain, around his neck and steel plated shin pad, knee high boots. As the show wore on, the lights onstage brightened, to reveal a full size logo and ornate scrims, hanging behind the band. Seemingly in a good mood, Benton flipped several picks into the crowd, prior to blue lit "They Are The Children Of The Underworld". Some wild guitar runs in quick hitting "Carnage In The Temple of The Damned". Veni Vidi Vici.

Beers of the Day: Obvious choices. First and foremost the blue potion, The Inebriating Spirit (Ever Grain Brewing), which lived up to several days of anticipation and was capable of multiple downings. Same cannot be said of XUL's PB&J Mixtape, but in small samples, the peanut butter confections needs to be tried, at least once. Although a repeat/retread, can't go wrong with Yard's Bit Viper.

Bands of the Day: More difficult than the beer selections, as more varied. Off the charts, Tomb Mold were unbelievable and recommended to anyone, to see/hear live, once (ala the peanut butter beer). Otherwise, Lamp Of Murmuur had a strong visual presence and the music is first rate. Love the conviction of Daeva as well. To each their own. Could be the event's motto, next year! Will you be there?

More Philly Metal & Beer Fest 2024 coverage:
Day 1
Day 2