Saturday June 25th two bands played the inner sanctuary of the Southgate House Revival. One a home town favorite, across the river and the other a veteran act, cultured in the occult with history stretching back to days of early Sabbath and the remains of the ‘60s, hippie dream. Perhaps their music and image were the antithesis of flower power and dropping out, though everybody in the building that night was definitely tuned in.
Coven, a band forged in the late ‘60s by iconic vocalist Jinx Dawson. One of the few active bands that can say they started in the historical late shadow of the hippie movement, summer of love and Haight-Ashbury scene. They also have historical claim of rivaling Black Sabbath using early dark imagery considered standard in the ‘70s, ‘80s, to modern day. They’re also credited as being one of the earliest users of the devil horns hand symbol.
It was truly a rare gift for fans to see the cult rock pioneer and occult queen in the flesh and her brood of blackened brothers. Original devilish diva, vexing vixen and savage savant doesn’t begin to cover the impact and influence Coven’s had on countless bands and left hand path faithful. The evening was also filmed so both rituals could be preserved.
With several albums to their credit including more recent releases Jinx and Light The Fire EP. Fans seemed the most excited and giddy to hear the classics from benchmark debut Witchcraft Destroys Minds and Reaps Souls, playing a set of crowd pleasing tunes and incantations to dance to.
Cincinnati’s the Boozelords opened things up, delivering a thunderstruck show of AC/DC inspired power with sweat-dripping energy and adrenaline. Playing with headliner spirit and infectious attitude, they cranked out a set of originals and covers intent to steal the show. Self described as if Ace Frehley, The Damned and The Supersucker’s had an evil love child. Though if Motorhead and AC/DC morphed with a young Van Halen, the Lords could be a contemporary bastard child.
Guitarist Scotty Wood, bass and vocalist Jason Knarr, drummer Lisa ‘Shiney’ Savage and guitarist Jamie Combs took the crowd on an early fast ride through punk, rock and metal giving the stained glass windows a good testing and early evening shake.
Knarr took stage presence to a personal level, dressed in half school boy garb danced, sang, throwing body weight around in semi-controlled contortions, leaving no space unexplored or unplayed sporting a set-wide Sybil-array of facial expressions and external body anarchy. It was as if Miss Dawson had already worked some magick on him and was emerged in spirit.
An interesting assorted cacophony of public and private party-related tunes including “Tequila Mockingbird,” and “Boner Pills” made the rounds.
Combs played with a flare reminiscent of Angus Young while Knarr sported half of the school boy look. They sang about some “Assholes” and a lovely lady named “Tawny.”
They finished with the iconic Priest’s “Rapid Fire” assuring the building still had a holy presence.
Witchcraft indeed Destroys Minds and Reaps Souls as the young and older witnessed the musical séance. A show held in a former house of the holy was a unique wicked irony. Dawson definitely found immortality through music and magick initiating new members that evening and reaffirming faith in the devoted congregation. Things even went a bit quasi-Shakespeare with Dawson holding up a half-skull, half-way through. It’s authenticity a mystery, though very probable given the user..
The witches cackle with haunting chanting began. The brood stood still and ready, in wait, drawing, building tension and anticipation for a seemingly frenzied amount of time. Then from the black draped coffin and depths, Dawson emerged. Summoned by song and the roar of her loyal nocturnal creatures, she emerged cloaked in black and silver masked. Her hands signaled the evening ritual to begin as sands from the hourglass ended the wait.
The veteran enchantress began her invocation as her disciples began the notes of “Out of Luck.” The dark, ominous opening lunged out for the audience like musical claws trying to infiltrate possessing sight, ears and senses as lyrical witches danced in circles around firelight and dark oaks.
The Southgate stage was their alter bewitching all in attendance. Guitars screamed out like wild cats along with her cackling prose. It was Sabbathy riffs before Sabbath unleashed their first iconic offering.
It was time to celebrate the Sabbath, blackened with ceremonial magick. The drums beat to the casual cadence and verbal offering as she told the wicked tale.
The young blooded spell of “Coven in Charing Cross” began with a tale similar to Bathory’s, seeking eternal youth and beauty through death. The band and crowd chanted the interwoven passages as Dawson sang the praises.
The “White Witch of Rose Hall” had her name and narrative proclaimed. Dawson said with a sly grin despite rumors and hearsay, she was still very much alive and functioning.
“The Crematory” brought out the dark mood of the masquerade accompanied by the bewitching glow of lantern light.
The ghost-like creepy whispered opening of “Choke, Thirst, Die” echoed against the colorful stained glass ricocheting across the room, invoking a different kind of ghostly spirit.
The foreseeing power of the crystal ball was invoked in the bright glow of the “Black Swan.”
They did it long before VH wrote about some carnal knowledge. So “F.U.C.K” it, everything she touches dies anyway.
Their “Epitaph” played as the house raised their horns in collective worship, thanks and praise as “Blood on the Snow” ended the show. The crowd screamed and begged for more but like a good master showstopper she left them anticipating the next time and chapter.
The crowd was a diverse blend; many not old enough to remember the ‘80s let alone the late ‘60s and ‘70s while others were a bit longer in the tooth and happy to embrace the cult rock memories conjured back.
Coven – www.facebook.com/TheOfficialCoven
Boozelords – www.facebook.com/donkystyle
Images by Mike Ritchie
