{"id":73,"date":"2012-01-01T20:21:10","date_gmt":"2012-01-02T04:21:10","guid":{"rendered":"http:\/\/www.moussavianlaw.com\/blog\/?p=73"},"modified":"2012-01-01T20:31:26","modified_gmt":"2012-01-02T04:31:26","slug":"concert-review-triptykon-slims-san-francisco-ca-10-23-10-saturday","status":"publish","type":"post","link":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/73\/concert-review-triptykon-slims-san-francisco-ca-10-23-10-saturday\/","title":{"rendered":"Triptykon"},"content":{"rendered":"\n<!-- Facebook Like Button v1.9.6 BEGIN [https:\/\/blog.bottomlessinc.com] -->\n<iframe src=\"https:\/\/www.facebook.com\/plugins\/like.php?href=https%3A%2F%2Fwww.moussavianlaw.com%2Fconcerts-interviews%2Fconcert-reviews%2F73%2Fconcert-review-triptykon-slims-san-francisco-ca-10-23-10-saturday%2F&amp;layout=standard&amp;show_faces=false&amp;width=450&amp;action=like&amp;colorscheme=light\" scrolling=\"no\" frameborder=\"0\" allowTransparency=\"true\" style=\"border:none; overflow:hidden; width:450px; height: 30px; align: left; margin: 2px 0px 2px 0px\"><\/iframe>\n<!-- Facebook Like Button END -->\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0<a href=\"http:\/\/www.moussavianlaw.com\/blog\/wp-content\/uploads\/Tour-Bus.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-78\" title=\"Tour Bus\" src=\"http:\/\/www.moussavianlaw.com\/blog\/wp-content\/uploads\/Tour-Bus-300x224.jpg\" alt=\"\" width=\"300\" height=\"224\" srcset=\"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-content\/uploads\/Tour-Bus-300x224.jpg 300w, https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-content\/uploads\/Tour-Bus-1024x768.jpg 1024w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 For readers not familiar with Triptykon or Tom Gabriel \u201cWarrior\u201d Fischer\u2019s (\u201cTF\u2019s,\u201d vocalist, guitarist) previous bands Celtic Frost and Hellhammer, it can be difficult to convey their power and darkness.\u00a0 It is the auditory equivalent of having one\u2019s head (1)\u00a0run over by a steam roller (steam engine?powered industrial construction machinery used to level roadways with a large drum fitted in place of wheels) or (2)\u00a0rammed by a wrecking ball (heavy, steel ball hung from a crane used to demolish large buildings).\u00a0 On Saturday, October 23, 2010, Triptykon played at San Francisco\u2019s 400?seat capacity Slim\u2019s nightclub that was half full (approximations presumed throughout).\u00a0 Triptykon played a seven?song, 67-minute set from 11:23 to 12:30.\u00a0\u00a0 <\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 &#8211;<span style=\"text-decoration: underline;\">Crucifixus<\/span> (tape intro) (<span style=\"text-decoration: underline;\">Shatter<\/span> record, 2010).\u00a0 The show began with a pre?recorded tape track of <span style=\"text-decoration: underline;\">Crucifixus<\/span>, a 4:10\u00a0instrumental essentially comprised of Vanja Slajh (\u201cVS,\u201d bassist) striking a very downtuned, distorted bass note every 10\u00a0seconds.\u00a0 The band members walked on stage.\u00a0 VS wore a black camisole covered by an off?black spandex shirt with elbow?length sleeves, black cotton skirt, black spandex pants, black sweatband on her right forearm, and black calf?length combat boots.\u00a0 VS\u2019s forehead featured a faint black greasepaint mark of an upside down cross.\u00a0 VS played a black five?string bass with standard Fender Stratocaster body shape and used one Ampeg amplifier (\u201camp\u201d).<\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1. <span style=\"text-decoration: underline;\">Procreation (of the Wicked)<\/span> (Celtic Frost cover: <span style=\"text-decoration: underline;\">Morbid Tales<\/span>, 1984) began with TF\u2019s grunt of \u201cUgh\u201d immediately followed by 10\u00a0bars of the mid tempo, hook?laden guitar riffs during the 35?second musical introduction preceding the first verse accompanied by Norman Lonhard\u2019s (\u201cNL\u2019s,\u201d drummer) mid tempo drum beats and VS\u2019s bass lines.\u00a0 TF wore a black beanie, long?sleeve button?down off?black cotton shirt (collar buttoned and untucked with short even hemline), black denim pants, and black combat boots.\u00a0 TF\u2019s outfit was accented with (1)\u00a0black greasepaint makeup around his eyes and five streaks of varying lengths around each eye that trailed down his face and (2)\u00a0cross necklace with four onyx stones around a diamond.\u00a0 TF played an Ibanez Iceman model guitar with the entire face featuring artwork by Hans\u00a0Rudolf\u00a0Giger (Swiss surrealist painter, sculptor, and set designer who won an Academy Award for Best Achievement for Visual Effects for his design work on the horror film \u201cAlien\u201d (1979)) and used two 100?watt Marshall amps.\u00a0 TF then sang the first verse in an ominous tone accompanied by alternating mid tempo, chugging guitar riffs and chord progressions, with the latter particularly effective in creating a fluid, syncopated feel.\u00a0 During the three?second musical interlude between the first verse and chorus and first chorus itself TF and Viktor Bullok (a.k.a. V.\u00a0Santura) (\u201cVB,\u201d guitarist) continued to play the same chugging guitar riffs and chord progressions.\u00a0 The chorus was comprised of TF twice chanting, \u201cProcreation of the wicked.\u201d \u00a0<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 TF and VB then played six bars of the mid tempo, hook?laden riffs from the song\u2019s introduction. \u00a0TF then transitioned without pause to the second verse and repeated the pattern from the first verse and chorus when he sang the second verse and chorus. \u00a0TF and VB then played eight bars of the mid tempo, hook?laden riffs from the song\u2019s introduction, the difference being the addition of short, droning notes accented with vibrato.\u00a0 TF then repeated the pattern from the first and second verses and choruses when he sang the third verse and chorus, the difference being TF added the phrase \u201c.\u00a0.\u00a0.\u00a0of the wicked.\u201d \u00a0The third verse contains interesting lyrics, \u201cCain and Abel\u2019s love and death.\u00a0 Love and hate is what we are.\u00a0 Dagger and grail are . . . fallen off the altar.\u201d\u00a0 After the third chorus TF and VB played six bars of the mid tempo, hook?laden guitar riffs from the introduction.\u00a0 TF then sang the fourth verse. \u00a0During the 30?second musical interlude between the fourth verse and chorus TF and VB added four bars of a new guitar riff followed by six bars of the mid tempo, hook?laden riffs from the song\u2019s introduction during which TF sang the following lyrics in a pain?filled tone, \u201cI\u2019ve killed this old man because he limped.\u00a0 I\u2019ve done it because he shouldn\u2019t have to do it.\u201d\u00a0 [TF\u2019s lyrics give new meaning to the saying, \u201cPutting someone out of his misery.\u201d\u00a0 I wonder what TF would have done if the old man had a more dire condition than a simple limp?!]\u00a0 TF then sang the fourth chorus. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2. <span style=\"text-decoration: underline;\">Goetia<\/span> (<span style=\"text-decoration: underline;\">Eparistera Daimones<\/span>, 2010) is an 11?minute opus the first 40\u00a0seconds of which featured two bars of TF and VB\u2019s slow tempo, brooding guitar chord progressions.\u00a0 The next 65\u00a0seconds featured even more slow tempo, brooding guitar chord progressions augmented with ample feedback from TF and VB\u2019s Marshall amps.\u00a0 During the next 25\u00a0seconds NL played a slow tempo drum beat with ample use of his cymbals while TF and VB played recurring distorted guitar notes.\u00a0 With a few hits of NL\u2019s snare drum the song\u2019s tempo suddenly shifted to a frenetic thrash pace for 25\u00a0seconds during which NL played thundering double bass drums and VS a heavy bass line while TF and VB continued to play recurring, distorted guitar notes.\u00a0 NL wore a black tank top and played a black?to?orange fade Mapex drum kit, double bass drums, Sabian cymbals, and the drum heads featured the white Mapex logo against a black background.\u00a0 NL\u2019s drum set was on a 10?inch high off?black felt pad riser.\u00a0 TF sang the first verse in a hybrid thrash?death tone augmented by NL\u2019s thundering double bass drums, VS\u2019s galloping, heavy bass lines, and TF and VB\u2019s mid\u00a0tempo, ominous guitar riffs reminiscent of early Black Sabbath.\u00a0 The lyrics set the mood for the song, \u201cSatan, savior, father.\u00a0 Lord, constructor of my world.\u00a0 Master, destroyer, redeemer. \u00a0Guide me, I am the open wound.\u201d\u00a0 [Candid, haunting lyrics, particularly for an impressionable young fan, including me when I first heard this song in 1985.\u00a0 Dr. Seuss (pen name for American children\u2019s books writer, cartoonist Theodor Seuss Geisel) writes about green eggs and ham while TF writes about subjects so dark I felt as if I would observe the stage rumble, smoke billow out from beneath an ever?widening fissure (i.e.,\u00a0crack), and Lucifer\u2019s wretched hand extend out to grasp TF around his hips.]<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 TF transitioned without pause to the first chorus, which he sang in a death metal tone augmented by his and VB\u2019s mid tempo ominous guitar chord progressions and NL\u2019s up tempo snare drum beats. \u00a0The tempo then momentarily reduced to a slow tempo pace as TF sang the second verse during which he and VB played the ominous, guitar riffs from the first verse, albeit at a slow tempo.\u00a0 During the 25?second musical interlude between the second and third verses the tempo resumed the frenetic thrash pace preceding the first verse with NL playing thundering double bass drums and VS playing a heavy bass line while TF and VB continued to play recurring, distorted guitar notes. \u00a0TF then repeated the pattern from the second verse and first chorus when he sang the third verse and second chorus (repeat of first chorus), the difference being that the third verse also featured NL playing his tom?toms. \u00a0The tempo then once again momentarily reduced to a slow tempo pace as TF sang the fourth verse (repeat of second verse). \u00a0During the 30?second musical interlude between the fourth and fifth verses TF and VB played slow tempo guitar riffs.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The tempo then resumed a mid tempo pace as TF chanted the fifth verse in a hybrid thrash?death metal tone, \u201cBearer of light, thou haveth fallen from heaven.\u00a0 Evoke thy servants and release their eternal spell.\u00a0 My heart is black, my heart is dead.\u00a0 Spirits enter into me, let me ascend.\u201d\u00a0 During the 90?second musical interlude between the fifth verse and third chorus (repeat of first chorus) TF and VB played a combination of mid tempo ominous and chugging guitar riffs with the latter reminiscent of <span style=\"text-decoration: underline;\">Reign in Blood<\/span> era (1986) Slayer.\u00a0 TF then sang the third chorus (repeat of first chorus) still at a mid tempo pace.\u00a0 The tempo then once again momentarily reduced to a slow tempo pace as TF sang the sixth verse (repeat of second verse) followed by VB\u2019s 40?second guitar solo augmented by TF\u2019s mid tempo guitar riffs. \u00a0TF then four times repeated the bridge in an ominous tone, \u201cLie upon lie mankind shall die.\u201d\u00a0 The song ended amidst a sea of guitar feedback.\u00a0 [At the end of the song I felt as if someone had taken a ball peen hammer and steadily whacked my brittle skull like a semi?hard?boiled egg.] <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3. <span style=\"text-decoration: underline;\">Circle of the Tyrants<\/span> (Celtic Frost cover: <span style=\"text-decoration: underline;\">To Mega Therion<\/span>, 1986).\u00a0 Before <span style=\"text-decoration: underline;\">Circle of the Tyrants<\/span> TF said, \u201cThank you for making us feel at home even before we got on stage.\u00a0 Enough sentimental words.\u201d \u00a0[Given the lyrical content and ferocity of Triptykon\u2019s songs, sentimentality is not the noun that comes to my mind, but rather death, destruction, despair, doom, desecration and a host of other words beginning with the letter \u201cD.\u201d]\u00a0 During the 20?second musical introduction to <span style=\"text-decoration: underline;\">Circle of Tyrants<\/span> TF and VB played four bars of two different sets of up tempo, complicated guitar riffs augmented by NL\u2019s tom?toms.\u00a0 TF then sang the first verse while he and VB played up tempo, chugging guitar riffs.\u00a0 During the five?second musical interlude between the first verse and chorus TF and VB played four bars of another series of up tempo, complicated guitar riffs.\u00a0 TF shouted the chorus, \u201cCircle of the tyrants!\u201d and then repeated the pattern from the first verse and chorus when he sang the second verse and chorus, the difference being the second verse was preceded only by the second of the two sets of up tempo, complicated guitar riffs from the introduction.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 TF and VB then played four bars of the second set of up tempo, complicated guitar riffs from the introduction after which the tempo abruptly reduced to a mid tempo pace immediately before TF sang the third and fourth verses with no pause between the two verses. \u00a0TF and VB then played four bars of droning guitar riffs after which TF sang the fifth verse and then transitioned without pause and repeated the fourth verse. \u00a0TF and VB then repeated the four bars of droning guitar riffs that preceded the fifth verse after which the tempo abruptly escalated to an up tempo pace. \u00a0The band then engaged in a 40?second jam that included the up tempo, complicated guitar riffs preceding the first chorus and a 25?second VB guitar solo.\u00a0 VB wore a long?sleeve button?down black cotton shirt (collar unbuttoned and untucked with short even hemline), black denim pants, and black tennis shoes.\u00a0 VB played an Ibanez Iceman model black guitar and used two 100?watt Marshall amps.\u00a0 The tempo abruptly again reduced to a mid tempo pace immediately before TF and VB played four bars of the droning guitar riffs preceding the fifth verse.\u00a0 TF then sang the seventh and eight verses.\u00a0 <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4. <span style=\"text-decoration: underline;\">Abyss Within My Soul<\/span> (<span style=\"text-decoration: underline;\">Eparistera Daimones<\/span>, 2010) is a 9:25?second opus that began with five bars of TF and VB\u2019s slow tempo ominous, descending guitar riffs augmented by NL\u2019s cymbal crashes that they continued to play once TF began to sing the first verse in an ominous tone.\u00a0 Given the lyrics TF\u2019s tone was fitting, \u201cThe dead are never gone.\u00a0 I can feel them all around me.\u00a0 I am drowning in an ocean.\u00a0 How I wish that you would join them.\u201d\u00a0 [I expected actor Haley Joel Osment to appear uttering his famous line, \u201cI see dead people,\u201d from director M.\u00a0Night\u00a0Shyamalan\u2019s psychological thriller, \u201cThe Sixth Sense\u201d (1999).]\u00a0 TF transitioned without pause to the first pre?chorus that he sang in a tone neither thrash nor death metal, but more hellish and augmented by his and VB\u2019s droning, downtuned guitar chords.\u00a0 [The music reminded me of the soundtrack and noise effects for Clive Barker\u2019s British horror film, \u201cHellraiser\u201d (1987).]\u00a0 TF then sang the first chorus in the same tone four times repeating the phrase, \u201cRise, abyss within my soul\u201d augmented by his and VB\u2019s chugging mid tempo guitar riffs.\u00a0 During the 20?second musical interlude between the first chorus and second verse TF and VB played two bars of descending, mid tempo guitar riffs and a recurring, drawn out guitar note.\u00a0 <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 TF then repeated the pattern from the first verse, pre?chorus, and chorus when he sang the second verse, pre?chorus, and chorus. \u00a0During the 50?second musical interlude between the second chorus and third verse TF and VB once again played two bars of descending, mid tempo guitar riffs and a recurring, drawn out guitar note followed by two bars of heavily distorted guitar notes. \u00a0TF then sang the third verse in an ominous tone augmented by his and VB\u2019s slow tempo descending guitar riffs from the first two verses.\u00a0 During the 30?second musical interlude between the third and fourth verses TF and VB once again played two bars of heavily distorted guitar notes. \u00a0TF then repeated the pattern from the first two verses, pre?choruses, and choruses when he sang the fourth verse, third pre?chorus, and third chorus.\u00a0 After the third chorus TF and VB played four bars of the heavily distorted guitar notes from the two preceding musical interludes followed by four bars of a slow tempo guitar chord progression. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5. <span style=\"text-decoration: underline;\">The Usurper<\/span> (Celtic Frost cover: <span style=\"text-decoration: underline;\">To Mega Therion<\/span>, 1986) began with a 35?second musical introduction featuring three sets of varying up tempo guitar riffs by TF and VB (four, two, and four bars, respectively).\u00a0 TF and VB continued to play the third set of guitar riffs while TF sang the first verse.\u00a0 TF then transitioned without pause to the first chorus that featured a different series of up tempo guitar riffs.\u00a0 During the 20?second musical interlude between the first chorus and second verse TF and VB played the third set of guitar riffs from the introduction. TF repeated the pattern from the first verse and chorus when he sang the second verse and chorus with the second chorus a repetition of the first. <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 TF then sang the bridge that featured a different series of up tempo, churning guitar riffs that transitioned without pause to a 65?second jam during which VB played a 30?second guitar solo.\u00a0 TF repeated the pattern from the first verse and chorus when he sang the third verse and chorus.\u00a0 At the end of the song TF simply said, \u201cThank you.\u201d \u00a0[I echoed the same sentiment to Triptykon.\u00a0 Thank you TF and VB for pummeling my brain with a battery of guitar riffs that converted my brain to a consistency akin to mashed potato.\u00a0 Thank you NL for subjecting my ears to a flurry of bass drums that made me feel as if I was within earshot of the rotors of an Apache fighter helicopter.\u00a0 Thank you VS for playing bass lines so heavy and deep?seeded I realized I possess a small intestine.]<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 6. <span style=\"text-decoration: underline;\">Synagoga Satanae<\/span> (Celtic Frost cover: <span style=\"text-decoration: underline;\">Monotheist<\/span>, 2006) is a 14:20?second opus epitomizing metal.\u00a0 The first 1:45 minutes were comprised of TF and VB\u2019s guitar feedback through their dual Marshall amp stacks augmented by NL\u2019s tribal beating of his tom?toms at a slow tempo pace while TF, VB, and VS stood with their backs to the audience. \u00a0TF and VB then played five bars of a crushingly heavy, slow tempo, two?chord guitar chord progressions with ample feedback augmented by NL\u2019s drum beats, which they continued to play when TF sang the first verse with anger and valiance.\u00a0 [The feedback would have brought pride to Jimi\u00a0Hendrix (late Black American rock guitarist, singer, songwriter) and Ritchie\u00a0Blackmore (English rock guitarist formerly with Rainbow and Deep Purple).] \u00a0The lyrics provide a chilling insight into TF\u2019s psyche, \u201cInternalized conflict externalized as war.\u00a0 Hymning thy rebellion Lucifer morning star.\u00a0 Bringer of light, forever shrouded by night.\u00a0 I am hell, a sulphurous lake of fire and suffering.\u201d\u00a0 [Demented, poetic, insightful, alarming and a whole host of other conflicting adjectives describe TF\u2019s outlook, perfect for TF to itemize in his on?line dating biography.\u00a0 If Ted Bundy (American serial killer) managed to get a slew of marriage proposals while incarcerated, TF must be the jewel in the eyes of many admiring female fans.]<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 As TF uttered the final word of the first verse (i.e., \u201csuffering\u201d) the tempo escalated to a mid tempo pace and he and VB transitioned to playing four bars of churning guitar riffs they continued to play when TF began to sing the first pre?chorus with equally chilling lyrics, \u201cMy blackened heart is a writhing mass of poisonous snakes.\u00a0 Grotesquely slithering as I slowly shed my dying skin.\u201d\u00a0 As TF uttered the final word of the first pre?chorus (i.e., \u201cskin\u201d) the tempo reduced to a slow tempo pace and he and VB began playing chugging guitar riffs they continued to play when TF began to sing the first chorus augmented by two?chord guitar chord progressions and NL\u2019s frequent hitting of his cymbals, \u201cIn darkness\u00a0.\u00a0.\u00a0. thou shalt come unto me.\u00a0 In darkness\u00a0.\u00a0.\u00a0. thou shalt worship me.\u00a0 In darkness\u00a0.\u00a0.\u00a0. thou art mine eternally.\u201d\u00a0 [TF\u2019s lyrics are fitting for a Valentine\u2019s day card . .\u00a0. that is .\u00a0.\u00a0. for the macabre.]\u00a0 TF then repeated the pattern from the first verse, pre?chorus, and chorus when he sang the second verse, pre?chorus and chorus.\u00a0 The second verse also contains noteworthy lyrics, \u201cThy curse\u00a0.\u00a0.\u00a0. all of my lies\u00a0.\u00a0.\u00a0. be blessed\u00a0.\u00a0.\u00a0. lord of the flies\u00a0.\u00a0.\u00a0. scapegoat\u00a0.\u00a0.\u00a0. shunned and despised.\u00a0 My church is my sacrifice.\u00a0 Follow after me into the halls of my damnation.\u00a0 I wield death like a scythe, reaping my annihilation.\u00a0 A monarch enthroned upon my throne of guilt.\u00a0 I am hell, a barren shrine to decay and neglect.\u201d\u00a0 [The image conjured in my mind is of TF\u2019s armor?plated frame sitting atop a throne in a dark castle with gothic ceilings with a single light shining on the wall behind TF\u2019s head causing the upside down cross adorning the brick?laden wall to shimmer.]<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 As TF uttered the final word of the second verse (i.e.,\u00a0\u201cneglect\u201d) he and VB transitioned to playing four bars of mid tempo, churning guitar riffs they continued to play as TF began to sing the second pre?chorus, \u201cUninhabitable\u00a0.\u00a0.\u00a0. the darkened depths of cold empty space.\u00a0 My necropolis\u00a0.\u00a0.\u00a0. the catacombs and tombs of disease.\u00a0 Monumental\u00a0.\u00a0.\u00a0. the fallen temple of dead deities.\u00a0 My necrolog\u00a0.\u00a0.\u00a0.an eternal curse lost in the abyss.\u201d\u00a0 TF then repeated the first chorus during which the band stopped playing for three\u00a0seconds when TF uttered the phrase, \u201cworship me!\u201d and turned his back to the audience. \u00a0The 70?second musical interlude between the second chorus and first bridge was comprised of a combination of exceedingly heavy slow tempo guitar riffs accented by a series of five recurring, ominous guitar notes by TF and VB that they continued to play (sans the guitar notes) accented by a flurry of cymbal crashes by NL.\u00a0 [The quantity and power of NL\u2019s cymbal crashes felt like brittle wine glasses repeatedly being smashed against my ear canal.]\u00a0 VB sang the first bridge in German in an anguish?filled tone.\u00a0 TF then sang the second bridge that continued to feature the same guitar riffs, the difference being TF sang the second bridge in Latin and a chilling tone.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 As TF sang the final word of the second bridge (i.e., \u201cblasphemiae\u201d) TF and VB struck one simple heavy chord after which TF whispered the 17\u00a0lines of the third bridge in German solely accompanied by guitar feedback. \u00a0[My brain transcended to a near comatose state.]\u00a0 As TF whispered the final word of the second bridge (i.e.,\u00a0\u201cAmen\u201d) he and VB began playing a wicked guitar chord progression they continued to play when TF began to sing the third pre?chorus, which contains the most chilling lyrics, \u201cBow down before thy lord below.\u00a0 I shall rise.\u00a0 I shall rule in blasphemy\u00a0.\u00a0.\u00a0.\u00a0 and in the end when thou art mine thou will be like me.\u00a0 In saecula saeclorum.\u00a0 In stagnum ignis et sulphuris.\u201d \u00a0As TF uttered the final word of the third pre?chorus TF and VB began playing chugging guitar riffs they continued to play when TF repeated the first chorus for the third time while VB headbanged.\u00a0 The final 120\u00a0seconds of the song featured the band pummeling the audience\u2019s senses with the wicked guitar chord progression from the third pre?chorus and a flurry of NL\u2019s tom?toms. \u00a0[At the end of the song the carnage and brutality of what had taken place left the audience in silence, an understandable reaction after being subjected to a song so heavy I would not have been surprised to observe fans emitting foam from their mouths with their eyes rolled toward the back of their heads.]<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 7. <span style=\"text-decoration: underline;\">The Prolonging<\/span> (<span style=\"text-decoration: underline;\">Eparistera Daimones<\/span>, 2010) is a 19:20?second epic that began with six bars of VB\u2019s slow tempo, distorted guitar notes augmented with NL\u2019s sporadic cymbal hits that they played while TF and VS had their backs to the audience.\u00a0 TF and VB then played eight bars of the same slow tempo, distorted guitar notes at a lower octave augmented by NL\u2019s simple drum beat and missing the five?second pause between each bar present during the first six bars. With TF\u2019s chant of \u201cUgh\u201d he and VB switched to playing four bars of downtuned guitar riffs.\u00a0 [TF and VB\u2019s guitars were so downtuned I thought the tuning peg on their Ibanez Iceman guitars would warp and melt, emitting a foul acidic odor from the depth of the underworld.]\u00a0 TF then sang the first verse in a hellish tone augmented by his and VB\u2019s trudging two?chord guitar chord progressions with heavy distortion and NL\u2019s simple drum beat.\u00a0 The lyrics are particularly poignant, \u201cAs you descend, I shall rise.\u00a0 Your demise shall be my conception.\u00a0 Your failure shall be my triumph.\u00a0 I shall feed from your decay.\u201d\u00a0 [Self serving, perhaps.\u00a0 But TF is not one to mince words.\u00a0 During our pre?show conversation the subject turned to Exodus (American thrash metal formed in 1980 in Richmond, California).\u00a0 TF opined by simply stating, \u201cI hate Exodus,\u00a0except for the first record.\u201d \u00a0(\u201cBonded by Blood\u201d (1980).]\u00a0 During the 60?second musical interlude between the first and second verses TF and VB played eight bars of an ascending guitar riff followed by eight bars of chugging guitar riffs.\u00a0 <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 TF then repeated the pattern from the first verse when he sang the second verse with the addition of four recurring, ominous guitar notes.\u00a0 TF sang, \u201cYour despair shall give me strength.\u00a0 As you degenerate, I shall prosper.\u00a0 Your misfortune shall make me jubilant.\u00a0 As you suffocate, I shall breathe.\u201d\u00a0 [TF\u2019s lyrics epitomize extremes fitting for the yin yang concept by describing how seemingly contrary forces are not only interconnected and interdependent, but also give rise to each other.\u201d]\u00a0 During the 80?second musical interlude between the second and third verses TF and VB once again played eight bars of an ascending guitar riff, the difference being that, with the introduction of NL\u2019s snare drums, the tempo escalated to an up tempo pace and TF and VB played eight bars of catchy guitar riffs accented by NL\u2019s thundering bass drums. \u00a0TF then sang the third verse while he and VB continued to play the up tempo, catchy guitar riffs from the musical interlude.\u00a0 The song\u2019s tempo then suddenly and dramatically slowed down during the 25?second musical interlude between the third and fourth verses during which TF and VB played trudging, chugging guitar riffs.\u00a0 <\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 TF then sang the fourth verse in an ominous tone augmented by his and VB\u2019s heavily distorted, trudging four?chord guitar chord progressions.\u00a0 TF sang, \u201cI shall tie your mortal limbs.\u00a0 I shall invade your thoughts.\u00a0 I shall belittle your aspiration.\u00a0 I shall obliterate your hope.\u00a0 I shall break your will.\u00a0 I shall devour your flesh.\u201d\u00a0 [I shall make a note to plead with John Carpenter and Wes Craven (American horror?film directors) to cast TF as the lead psychopath character in their upcoming films.]\u00a0 During the 70?second musical interlude between the fourth verse and first chorus TF and VB played four bars of a slow tempo guitar riff followed by four bars of the spaced out, slow tempo, distorted guitar notes from the introduction.\u00a0 TF then sang the first chorus during that he repeated eight times, \u201cAs you perish, I shall live.\u00a0 You shall drown in my contempt.\u201d\u00a0 TF switched between hellish and ominous tones for each of the two lines and also switched the sequence of the two lines each of the eight times he sang the chorus.\u00a0 TF and VB played a series of ominous guitar riffs during the 30?second break between the first and final four times TF sang the chorus. \u00a0During the 20?second musical interlude between the first chorus and fifth verse the tempo escalated to a mid tempo pace and TF and VB played four bars of an ascending guitar riff.\u00a0 TF then sang the fifth verse in a hellish tone augmented by his and VB\u2019s mid tempo guitar riffs and NL\u2019s rollicking tom?toms.\u00a0 TF ended the fifth verse by screaming, \u201cLiar!\u201d\u00a0 TF then repeated the pattern from the fifth verse when he sang the sixth verse.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The tempo dramatically slowed down as TF began to sing the seventh verse, \u201cAs you deteriorate\u00a0\u2026 I shall create my kingdom.\u00a0 As you sink into waves of darkness\u00a0\u2026 I shall find my brightest light.\u201d\u00a0 During the 90?second musical interlude between the seventh verse and second chorus the first 60\u00a0seconds featured guitar feedback and NL\u2019s slow tempo tom?toms after which the band stopped playing for one second and TF and VB then resumed with four bars of the downtuned guitar riffs from the introduction.\u00a0 TF then sang the second chorus over an 180?second period and during which he 12\u00a0times repeated the phrase, \u201cAs you perish, I shall live.\u201d\u00a0 TF\u2019s singing was augmented by NL\u2019s cymbal crashes and VB\u2019s recurring, drawn out, high guitar note. \u00a0VS and NL left the stage while TF and VB turned their back to the audience and stood within one foot of, and held their guitars up to, their respective dual Marshall amp stacks as they played indecipherable riffs dominated by feedback during the final 100\u00a0seconds of the song.\u00a0 At the end of the song TF said, Thank you.\u00a0 Triptykon bows to you.\u201d\u00a0 TF and VB then left the stage.\u00a0 [I would have bowed to Triptykon, but the show\u2019s brutality left me, in the immortal words of Pink Floyd (British progressive, psychedelic rock band), comfortably numb.]\u00a0 \u00a0\u00a0<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 &#8211;<span style=\"text-decoration: underline;\">Winter (Requiem, Chapter Three: Finale)<\/span> (tape outro) (Celtic Frost cover: <span style=\"text-decoration: underline;\">Monotheist<\/span>, 2006).\u00a0 After the band walked off stage the show ended with a pre?recorded tape track of <span style=\"text-decoration: underline;\">Winter (Requiem, Chapter Three: Finale)<\/span>, a 4:35\u00a0instrumental that initially featured soothing cello notes followed by atmospheric keyboard chords. <\/span><\/span><\/p>\n<p><span style=\"font-family: Times New Roman;\"><span style=\"color: #000000;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <span style=\"text-decoration: underline;\">Venue<\/span>:<strong> <\/strong><\/span><span style=\"color: #000000;\">Slim\u2019s is a 400?seat San Francisco club that rhythm and blues artist Boz\u00a0Scaggs opened in 1988.\u00a0 Slim\u2019s is located within three miles of San\u00a0Francisco\u2019s financial district.\u00a0 The club decor is simple and includes chandeliers, brick walls, and a bar inspired by the facades of New Orleans manors.\u00a0 Within five feet of walking through the entrance are six steps that lead immediately up and into the general admission floor approximately 20\u00a0feet from the stage.\u00a0 At one end of the main floor is the stage that measures 29\u00a0feet wide by 16\u00a0feet deep.\u00a0 The stage is three feet and three inches from the club floor and features a moveable drum riser eight\u00a0feet by six\u00a0feet and a very narrow photo pit.\u00a0 At the other end of the main floor is a small balcony with 14\u00a0tables and seating for 70\u00a0people.\u00a0 The sound console is located in the rear by the steps leading up to the balcony.\u00a0 The L?shaped bar runs the length of the floor stage left.\u00a0 The general admission floor also includes six pillars.\u00a0 Located downstairs are three dressing rooms, coat check, and additional restrooms.<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <span style=\"text-decoration: underline;\">Opening Bands (first to last)<\/span>: Yakuza and 1349.<\/span><\/span><\/p>\n<p><span style=\"font-family: Times New Roman; color: #000000;\">Arash Moussavian, Entertainment Law Attorney<\/span><\/p>\n<p><a href=\"mailto:arashmoussavian@cal.berkeley.edu\"><span style=\"font-family: Times New Roman; color: #0000ff;\">arashmoussavian@cal.berkeley.edu<\/span><\/a><\/p>\n<p><a href=\"http:\/\/www.linkedin.com\/in\/arashmoussavian\"><span style=\"font-family: Times New Roman; color: #0000ff;\">www.linkedin.com\/in\/arashmoussavian<\/span><\/a><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">All photos taken by Arash Moussavian.\u00a0 This article and all photos are protected by copyright.\u00a0 Please contact me prior to use, or I will make shish kabab of your loins.\u00a0 <\/span><\/span><\/p>\n<p><span style=\"font-family: Times New Roman; color: #000000;\">\u00a0<\/span><\/p>\n<p align=\"center\"><strong><span style=\"text-decoration: underline;\"><span style=\"font-family: Times New Roman; color: #000000;\">Set List<\/span><\/span><\/strong><\/p>\n<p><strong><span style=\"text-decoration: underline;\"><span style=\"font-family: Times New Roman; color: #000000;\">\u00a0<\/span><\/span><\/strong><\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\"><strong><span style=\"text-decoration: underline;\">Song<\/span><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<strong><span style=\"text-decoration: underline;\">Album Title<\/span><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <strong><span style=\"text-decoration: underline;\">Release Year<\/span><\/strong><\/span><\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">&#8211; Crucifixus (tape intro)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Shatter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2010\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<br \/>\n<\/span><\/span><span style=\"font-family: Times New Roman; color: #000000;\">1. Procreation (of the Wicked) (Celtic Frost cover)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Morbid Tales\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1984<br \/>\n<\/span><span style=\"font-family: Times New Roman; color: #000000;\">2. Goetia \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eparistera Daimones \u00a0\u00a0\u00a0 2010<br \/>\n<\/span><span style=\"font-family: Times New Roman; color: #000000;\">3. Circle of the Tyrants (Celtic Frost cover)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 To Mega Therion\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1986<br \/>\n<\/span><span style=\"font-family: Times New Roman; color: #000000;\">4. Abyss Within My Soul\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eparistera Daimones \u00a0\u00a0\u00a0 2010<br \/>\n<\/span><span style=\"font-family: Times New Roman; color: #000000;\">5. The Usurper (Celtic Frost cover)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 To Mega Therion\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1986<br \/>\n<\/span><span style=\"font-family: Times New Roman; color: #000000;\">6. Synagoga Satanae (Celtic Frost cover)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monotheist\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2006<br \/>\n<\/span><span style=\"font-family: Times New Roman; color: #000000;\">7. The Prolonging\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eparistera Daimones \u00a0\u00a0\u00a0 2010<br \/>\n<\/span><span style=\"font-family: Times New Roman; color: #000000;\">&#8211; Winter (Requiem, Chapter Three: Finale) (tape outro)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monotheist\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2006 <\/span><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman;\">(Celtic Frost cover)<\/span><\/span><\/p>\n\n<!-- Facebook Like Button v1.9.6 BEGIN [https:\/\/blog.bottomlessinc.com] -->\n<iframe src=\"https:\/\/www.facebook.com\/plugins\/like.php?href=https%3A%2F%2Fwww.moussavianlaw.com%2Fconcerts-interviews%2Fconcert-reviews%2F73%2Fconcert-review-triptykon-slims-san-francisco-ca-10-23-10-saturday%2F&amp;layout=standard&amp;show_faces=false&amp;width=450&amp;action=like&amp;colorscheme=light\" scrolling=\"no\" frameborder=\"0\" allowTransparency=\"true\" style=\"border:none; overflow:hidden; width:450px; height: 30px; align: left; margin: 2px 0px 2px 0px\"><\/iframe>\n<!-- Facebook Like Button END -->\n","protected":false},"excerpt":{"rendered":"<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 For readers not familiar with Triptykon or Tom Gabriel \u201cWarrior\u201d Fischer\u2019s (\u201cTF\u2019s,\u201d vocalist, guitarist) previous bands Celtic Frost and Hellhammer, it can be difficult to convey their power and darkness.\u00a0 It is the auditory equivalent of having one\u2019s head &hellip; <a href=\"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/73\/concert-review-triptykon-slims-san-francisco-ca-10-23-10-saturday\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[30],"class_list":["post-73","post","type-post","status-publish","format-standard","hentry","category-concert-reviews","tag-triptykon"],"_links":{"self":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/73"}],"collection":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/comments?post=73"}],"version-history":[{"count":6,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/73\/revisions"}],"predecessor-version":[{"id":80,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/73\/revisions\/80"}],"wp:attachment":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/media?parent=73"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/categories?post=73"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/tags?post=73"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}