Haken: Vector (InsideOut Records) [Alex]
Despite straggling contemporary progressive metal as Opeth and Dream Theatre by at least twenty years, while Haken have lacked in permanency, they’ve excelled in quality - Visions and The Mountain, are already held up as classics within some circles. Showing their more humoured stripes, Affinity was in one part quintessentially 21st Century, and another part perfectly executed throwback. Notability posed the question of whether they would continue on a retro inspired pathway, or return to their visceral and dramaticized nature. Choosing instead to do both, Vector stands as a dark, brooding and venomous. Not shy conceptually, we deal with harsh clinical realities of experimentation, psychological torture, and medical vigilantism: Concepts precisely captured by the warped and vivid tone of the melodies intersecting and duelling with the instrumentation.
Clear begins proceedings. While only an introduction, the domineering synths emanate a chillingly psychotic anxiety. Disturbing the tension The Good Doctor, cuts through the atmosphere with a splicing lead melody and gnashing synths. ‘Electricity is the cure that he really needs, bring an empire to his knees’ relishes the voice of the surgeon portrayed here, the maniacal soundscapes, stressing the extremity of electro shock therapy, a condemned form of surgery, described in disturbing detail. Although the lyrics to Puzzle Box are left to be deciphered by the listener, they appears to tell of paranoia and obsession, musings in the vein of ‘A fleeting sense of self-worth, melts away into oblivion’ proving graphic while scarily relatable. Guiding our sensations, is the changeable and schizophrenic tone which staggers from quiet introspection, to panicked hysteria to a beautifully melodic chorus, poignantly asking ‘how can truth set us free when lies are all we have’. While being just as enthralling, Veil takes the approach of beginning a slow ballad with lush harmonies and subtle piano, before gradually swelling in dramatics, as sprawling complexity takes hold, and the words describes one desperately cleansing themselves of regret and guilt.
Already taken on an emotional thrill ride, Nil By Mouth guides us into a strange and alluring instrumental, taking us through all the different aspects of Haken’s musical character while making us reflect on the dystopian and difficult themes explored so far. To be saying so of an instrumental is high praise indeed, yet that’s testament to how excellently these songs flow and lead into one another. For another perfect example look at Host, which while despite a lot less dense and expansive than other moments on Vector, has the darker tone carried by downtrodden instrumentals and sombre lyricism, with such lines as ‘Sail away, goodbye, I’ve been left down here to die’ sending chills riveting through my nervous system. A Cell Divides closes the album, its precise nature speaking to the scientific and tentative themes. That said, as the record reaches its crescendoing seconds, the words ‘It’s the beauty in the flaw, the grace of imperfection’ ring out, emphasising that while this band and entire genre has a habit of cloaking any relatedness behind elaborate tales, at their core, they remain incredibly emotional and immersive. 9/10
Deathrite: Nightmare's Reign (Century Media) [Sean]
Death metal, death metal, death metal. You’ve always been there for me when black metal left me cold, when power metal mad me feel sickly and when prog straight up sent me to sleep. In many cases, I love you when you’re at your most simple and direct. No fucking about, just straight up impalement and more filth than an unwashed abattoir. Germany’s Deathrite very much belong to this category, highly influenced by the Stockholm rumblings with lashings of good ol’ crusty punk. A solid foundation to be sure but upon listening to new album, Nightmares Reign, it’s clear that’s there’s other demons lurking in the deep. Does tweaking with a well worn formula reap rewards? Or do Deathrite fall completely into the abyss? Let the ritual begin!
Ough! Fucking Ough! That’s what greets me after When Nightmares Reign atmospheric crescendo, transitioning into filthy d-beat beats and crunchy riffs. Consider me sold, as the punishing stomp is elevated even further by some really ripping solos. Then another “OUGH” as vocalist, Tony Heinrich, is intent on vomiting the entire contents of his being across Appetite For Murder. Then it slows, melody seeps in though this is a mere illusion. What comes is something akin to proto-black metal, briefly rearing it’s ugly head before returning to its deathly beginnings. And there we have it, the crux of the experimentation as Deathrite shift slightly between these different stances. At times embodying a Celtic Frost/Hellhammer stomp, other times like prime Dismember or even Autopsy during their slower moments. Demon Soul is downright nasty, whereas Bloodlust leans somewhat more into blackened territories, though still with one foot firmly planted into the grave. Temptation Calls is the strangest beast on the album. Starting with the typical death metal stomp, it suddenly slows down to settle in more melodic, dare I say, progressive waters. At 9 minutes, it’s a fitting if slightly overlong end of a filthy ride.
Let’s get down to it then; Nightmares Reign is not a huge departure from ye olde metal of death. Deathrite are far from leaving their deathly beginnings, but it’s evident that the Germans are indeed looking to different horizons. And for the most part, it works really well though it’s not without a few minor quibbles. There’s far more of an emphasis on groove than outright speed, which may disappoint and turn off some. For myself, the only issue was the length of the longer songs. Despite containing some great moments, they buckle ever so slightly due to their length, though this is hardly a blemish. In closing, Deathright’s more playful nature of Nightmares Reign empowers the Germans with a newfound air of versatility, neatly fitting into their rot ridden oeuvre. One more time lads, OUGH! 8/10
Lost In Thought: Renascence (Self Released) [Rich]
It’s been seven long years since Swansea based progressive metallers Lost In Thought released their debut album Opus Arise and this band has overcome a lot in that period from a horrific road accident which completely derailed the band to the band pretty much splitting into two to members leaving and for a while it looked like we would never get a second album out of the band. Thankfully with the addition of new members album number two Renascence is finally here and it has very much been worth the wait.
The original members of the band remaining are guitarist David Grey and drummer Chris Billingham and they have been joined by bassist Josh Heard, keyboardist Diego Zapatero and vocalist Deane Lazenby. The vocals by original vocalist Nate Loosemore were a definite highlight of the debut album but with Deane they have most an ever better singer with an incredibly rich powerful voice and an incredible range. The musicianship and songwriting throughout the album is second to none. The band is still very reminiscent of European progressive metal bands such as Anubis Gate, Pagan’s Mind and Vanden Plas but there’s a definite influence from bands such as Haken and Leprous this time round especially with the contemporary sounding keyboards and some of the guitar riffs almost veer into djent territory but this is by no means a bad thing with Lost In Thought ensuring that their progressive power metal style sounds very modern and up to date.
Renascence had me in awe from the get go with the opening double punch of A New Life and Ascendance sending my mouth agape and the hairs on my arms standing on end. The quality remains at this astonishingly high level throughout the entirety of the album with other notable songs being the melodic Save me whilst the heaviness is brought forth on Delirium and Legacy and the band reach epic proportions on the massive album closer Absolution.
It’s clearly evident that an incredible amount of love and hard work has gone into this album as it easily surpasses Opus Arise in terms of quality and Opus Arise is a brilliant album. Progressive metal fans seriously need to hear this album as it’s easily one of the finest releases of the year. A huge welcome back to Lost In Thought. 9/10
Bitch Hawk: Joy (Adrian Recordings) [Paul S]
Joy is Bitch Hawk’s second album. In fact it’s Bitch Hawks second album this year; their debut was released in January. The Stockholm based four piece clearly aren’t afraid of a bit of hard work, but is the album any good? Or are Bitch Hawk just putting out any old crap they can cobble together? Luckily for this reviewer, it’s the former, as this is a great piece of work.
The music on offer here is a mix of crossover thrash, hardcore and punk. First track Good News kicks the album off in very thrashy fashion, in fact this is probably the purest thrash on the album. Tight, fast riffs, aggressive vocals and great drums. Really impressive simple, crossover thrash. But, as I said this is an album with a few different moods. Baby Love is a slower looser track, more punk than thrash, but still with lots of energy, and a very heavy ending. EDM is slower still, and has a bit of an alternative metal sound, it’s got a fairly relentless feel to it, in some ways the slower tempo gives the song this relentless aspect. Optical Character Recognition has a fairly measured feel to it, probably the most controlled, well behaved track on the album.
Slime is a fairly loose hardcore track, faster than the songs that came before it, possibly a little power violence in execution. The hardcore is tighter and more aggressive with the sing Get Up Your Fine, fast and in your face, this track has a definite intent. The next track Rikspsyk is an out and out blast, in some ways it’s close to grindcore in it’s ferociousness. Joy is a great album. Although there are lots of different sounds on this album, the one thing they all have in common is energy, lots of energy. In fact Bitch Hawk have so much energy if science can find a way to tap into this energy, we might have found a replacement for fossil fuels! If you like fast music packed with exuberance, fun and masses of energy, definitely check this out. 8/10
Monday, 12 November 2018
Sunday, 11 November 2018
Reviews: Opeth, Kalidia, Red Dragon Cartel, Algy Ward's Tank (Reviews By Paul H & Alex)
Opeth: Garden Of The Titans: Live At Red Rocks Amphitheater (Nuclear Blast) [Paul H]
Those of you who follow the Musipedia will know that Opeth sit in my top two favourite bands of all time. This release captures the band on the US leg of their Sorceress tour from 2017. Recorded at the stunning Red Rocks amphitheater in Denver, Colorado, it is a fabulous setting. This DVD/CD release was recorded at Red Rocks on 11th May 2017. I was fortunate enough to catch them later that year and this is a solid representation of the form that the band were in on that tour. With a dry sense of humour, Mikael Akerfeldt’s between song banter is always a highlight, including his continued deflection of the inevitable shouts for Freebird. Here it’s the music that really does the talking Garden Of The Titans captures Opeth in imperious and majestic form.
The DVD provides the visuals, with an impressive light show and clever imagery on the screens, as well as multi-angle shots of the band. All the musicians in this band combine to deliver some of the band’s complex and lengthy progressive songs that are both crushingly heavy and ethereally light. The fusion of prog, death metal, black metal, hard rock and jazz which makes Opeth unlike any other band around today. The setlist at Red Rocks was more varied that the UK tour but still contains some very heavy beasts indeed. The band opened the evening with the jazz intro segueing into Sorceress, the gruesomely heavy Ghost Of Perdition and then the intensity of Demon Of The Fall.
The Wilde Flowers and In My Time Of Need allow more delicate exploration and includes some impressive audience participation. It’s noticeable that keyboard player Joakim Svalberg is playing more of a role with his Hammond prominent but also his backing vocals supporting the others. Akerfeldt’s death growls do appear less effective but it’s a minor point as the pulverising Heir Apparent and an absolutely punishing Deliverance close the set. As live albums go this is just superb. 10/10
Kalidia: The Frozen Throne (Inner Wound Recordings) [Alex]
Theatricality and grandiosity are values I hold dear in music. Acts in the vein of Kalidia have the potential to create vast and gorgeous textures by daring to experiment. It’s not an objective measurement of quality, nor is it a standard I apply to everything. though it is a taste probably owing to an early love of Queen, film scores and – as an unashamed guilty pleasure - musical theatre. The Frozen Throne is certainly ambitious and even commendably takes some paths that I didn’t expect, only really falling short of being great in the comfortability of tired old clichés, and lack of obligation to their splendorous ideas
Let me stress that for a second album, this is by no stretch of the imagination a disappointment. Each member of the band plays with precision and Nicola Rosellini's vocals are beautifully melodic. Often you can see the makings of a great symphonic power quartet. Circles Spell introduces some alluring Middle Eastern influences, beginning with sitar and with a charming oriental hook lacing its way throughout, while aggressive instrumentation roars alongside. Likewise, To The Darkness I Belong contrasts distortion and thundering rhythms, with Celtic or Vaudevillian instruments, making the twisted fairy tales told across the lyricism feel animated and alive. Myth Of Masada and Go Beyond take these experiments to epic heights, placing the orchestration front and centre, rejoicing in their eloquence. It is in these moments among others, that The Frozen Throne sparkles and Glimmers with royal prestige.
With everything I’ve already said, my criticisms aren’t so much harsh as they are concepts which I think will be improved on, not far into Kalidia’s future. Firstly, for all the dazzling moments that exist, songs such as the opening Frozen Throne and the closing Queen Of The Forsaken do not display enough of a multifaceted nature or instrumental palate to make for a believable aesthetic. Incidentally, while I can respect Black Sails and Orpheus, for effectively creating tension they the same issue. Finally, if I can allude to film soundtracks again, one potential pitfall incurred in attempts to sound powerful is that every song ends up sounding like a battle sequence. That said, we do get a little nuance here, and that’s a skill which I’m hoping will bloom into radiant colour. Indeed, where there are problems, they are the pitfalls of talented musicians cutting out their own sphere of influence, as of fashioning a throne from ice 7/10
Red Dragon Cartel: Patina (Frontiers Records) [Paul H]
If I read right recently in the media, Patina may be Jake E Lee’s last album. Period. Featuring Phil Varzone (Skid Row) and bassist Anthony Esposito along side Lee and vocalist Darren James Smith, back in the fold having sorted his differences with Lee, we move forward four years after their eponymous debut. Patina is solid without being ball grabbing. This is classic rock in every sense, with an American larger than life production. Songs like Crooked Man with its Alice In Chains breakdown and the foot stomping Speedbag really catch the attention. However, there are a few turkeys here; average Chasing Ghosts and My Beautiful Mess both contenders for blandest song of the year. Whilst Lee’s guitar work is grittier and gnarly than before it retains the quality that secured his slot with Ozzy for those few glorious years albeit sans the songs with anything near the quality of the double ‘O’. One for background music whilst cooking methinks. 5/10
Algy Ward’s Tank: Sturmpanzer (Dissonance Productions) [Paul H]
Synonymous with the original Tank line-up which formed in 1980, Algy Ward was part of the band responsible for the legendary Filth Hounds of Hades album in 1982 at the height of the NWOBHM movement. Tank were regularly compared to Motörhead, mainly because they were a three-piece and because they displayed a similar punk-edged playing style. It’s been a pretty shambolic history ever since though, with the band changing line-ups, splitting into the Tucker/Evans Tank releasing three albums (and playing as a five-piece) whilst Ward released Breath of the Pit in 2013. This is, as it appears, a solo effort from Ward as he sings and plays all instruments. There are a couple of listenable songs here, but his vocal delivery was never his strong point and he reinforces that with a ropey performance. The seven-minute plus instrumental, Revenge Of The Filth Hounds Pt 1 & 2, a brooding affair, at least partially restores some pride to an otherwise simply average album. 4/10
Those of you who follow the Musipedia will know that Opeth sit in my top two favourite bands of all time. This release captures the band on the US leg of their Sorceress tour from 2017. Recorded at the stunning Red Rocks amphitheater in Denver, Colorado, it is a fabulous setting. This DVD/CD release was recorded at Red Rocks on 11th May 2017. I was fortunate enough to catch them later that year and this is a solid representation of the form that the band were in on that tour. With a dry sense of humour, Mikael Akerfeldt’s between song banter is always a highlight, including his continued deflection of the inevitable shouts for Freebird. Here it’s the music that really does the talking Garden Of The Titans captures Opeth in imperious and majestic form.
The DVD provides the visuals, with an impressive light show and clever imagery on the screens, as well as multi-angle shots of the band. All the musicians in this band combine to deliver some of the band’s complex and lengthy progressive songs that are both crushingly heavy and ethereally light. The fusion of prog, death metal, black metal, hard rock and jazz which makes Opeth unlike any other band around today. The setlist at Red Rocks was more varied that the UK tour but still contains some very heavy beasts indeed. The band opened the evening with the jazz intro segueing into Sorceress, the gruesomely heavy Ghost Of Perdition and then the intensity of Demon Of The Fall.
The Wilde Flowers and In My Time Of Need allow more delicate exploration and includes some impressive audience participation. It’s noticeable that keyboard player Joakim Svalberg is playing more of a role with his Hammond prominent but also his backing vocals supporting the others. Akerfeldt’s death growls do appear less effective but it’s a minor point as the pulverising Heir Apparent and an absolutely punishing Deliverance close the set. As live albums go this is just superb. 10/10
Kalidia: The Frozen Throne (Inner Wound Recordings) [Alex]
Theatricality and grandiosity are values I hold dear in music. Acts in the vein of Kalidia have the potential to create vast and gorgeous textures by daring to experiment. It’s not an objective measurement of quality, nor is it a standard I apply to everything. though it is a taste probably owing to an early love of Queen, film scores and – as an unashamed guilty pleasure - musical theatre. The Frozen Throne is certainly ambitious and even commendably takes some paths that I didn’t expect, only really falling short of being great in the comfortability of tired old clichés, and lack of obligation to their splendorous ideas
Let me stress that for a second album, this is by no stretch of the imagination a disappointment. Each member of the band plays with precision and Nicola Rosellini's vocals are beautifully melodic. Often you can see the makings of a great symphonic power quartet. Circles Spell introduces some alluring Middle Eastern influences, beginning with sitar and with a charming oriental hook lacing its way throughout, while aggressive instrumentation roars alongside. Likewise, To The Darkness I Belong contrasts distortion and thundering rhythms, with Celtic or Vaudevillian instruments, making the twisted fairy tales told across the lyricism feel animated and alive. Myth Of Masada and Go Beyond take these experiments to epic heights, placing the orchestration front and centre, rejoicing in their eloquence. It is in these moments among others, that The Frozen Throne sparkles and Glimmers with royal prestige.
With everything I’ve already said, my criticisms aren’t so much harsh as they are concepts which I think will be improved on, not far into Kalidia’s future. Firstly, for all the dazzling moments that exist, songs such as the opening Frozen Throne and the closing Queen Of The Forsaken do not display enough of a multifaceted nature or instrumental palate to make for a believable aesthetic. Incidentally, while I can respect Black Sails and Orpheus, for effectively creating tension they the same issue. Finally, if I can allude to film soundtracks again, one potential pitfall incurred in attempts to sound powerful is that every song ends up sounding like a battle sequence. That said, we do get a little nuance here, and that’s a skill which I’m hoping will bloom into radiant colour. Indeed, where there are problems, they are the pitfalls of talented musicians cutting out their own sphere of influence, as of fashioning a throne from ice 7/10
If I read right recently in the media, Patina may be Jake E Lee’s last album. Period. Featuring Phil Varzone (Skid Row) and bassist Anthony Esposito along side Lee and vocalist Darren James Smith, back in the fold having sorted his differences with Lee, we move forward four years after their eponymous debut. Patina is solid without being ball grabbing. This is classic rock in every sense, with an American larger than life production. Songs like Crooked Man with its Alice In Chains breakdown and the foot stomping Speedbag really catch the attention. However, there are a few turkeys here; average Chasing Ghosts and My Beautiful Mess both contenders for blandest song of the year. Whilst Lee’s guitar work is grittier and gnarly than before it retains the quality that secured his slot with Ozzy for those few glorious years albeit sans the songs with anything near the quality of the double ‘O’. One for background music whilst cooking methinks. 5/10
Algy Ward’s Tank: Sturmpanzer (Dissonance Productions) [Paul H]
Synonymous with the original Tank line-up which formed in 1980, Algy Ward was part of the band responsible for the legendary Filth Hounds of Hades album in 1982 at the height of the NWOBHM movement. Tank were regularly compared to Motörhead, mainly because they were a three-piece and because they displayed a similar punk-edged playing style. It’s been a pretty shambolic history ever since though, with the band changing line-ups, splitting into the Tucker/Evans Tank releasing three albums (and playing as a five-piece) whilst Ward released Breath of the Pit in 2013. This is, as it appears, a solo effort from Ward as he sings and plays all instruments. There are a couple of listenable songs here, but his vocal delivery was never his strong point and he reinforces that with a ropey performance. The seven-minute plus instrumental, Revenge Of The Filth Hounds Pt 1 & 2, a brooding affair, at least partially restores some pride to an otherwise simply average album. 4/10
A View From The Back Of The Room: Eden's Curse
Eden’s Curse, Fuel Rock Club
I’d been looking forward to this gig for a while, after the hugely well attended gigs we’d been to on the weekend it was nice to back to the smaller more ‘local’ shows. Having said that upon arriving just before the support I was a little disheartened to see just how few people were at the gig, especially because Eden’s Curse are currently on tour with Michael Schenker. This was a one off headline show on that tour before they made their way up to Prestatyn for Hard Rock Hell, support came from Traitor’s Gate (6) who we’d seen the previous month supporting Diamond Head and the set was pretty much the same just on a smaller stage, although this time there was not a lyric sheet to be seen. Playing to a few people has to be disheartening for many bands so kudos for them for putting in the effort but I’m just still not too fussed on Traitor’s Gate’s middle of the road NWOBHM on stage.
Next up were multi-national melodic metal band Eden’s Curse (8) who are a slick professional unit with years of experience on the stage, on record and in the case of bass player Paul Logue behind the producer’s chair. The band is currently touring their Testament record which showcases the best songs from both eras of Eden’s Curse with Michael Eden and Nikola Mijić behind the mic. When you listen to the album you can hear that the style doesn’t change much between the two singers only that AOR elements creep in with Mijić as the prog touches fade out. Coming onto the stage with their big backdrops they did seem a little cramped with keyboardist Christian "Chrism" Pulkkinen relegated to by the stage door, however it’s his table full of tech that allows Eden’s Curse to get that studio sound in the live arena, it means there’s big (taped) backing vocals and a well rounded sound bolstered by the use of an extensive sound desk!
The performance was more static than normal as the conditions of the venue wouldn’t allow much room to move but there was enough movement and passion from the band to keep the visual interest especially Nikola who’s voice is perfect. Guitarist Thorsten Köhne, takes a solitary position for most of the set but shreds with ease peeling off solos during every track. A brief mention to for John Clelland (drums) who brings the thump with Logue live. The set was basically the first disc of their new record in full and I believe in order (though I’d have to check), it was a good plan as essentially playing a ‘greatest hits’ meant that most knew at least a few of the songs. Now this is where I got a little annoyed, with the show, the crowd was small with even Nikola commenting (I mean they are used to playing to bigger crowds with Schenker) and for such a small crowd many of the ‘hardcore’ that is folks with Eden’s Curse t-shirts stood and talked through the first four songs with it being the most notable on ballad Turn The Page, although when I can hear the guys in front of me during a rocker like The Great Pretender then it strikes me that they might be at the wrong gig. I know we speak about this a lot but we’re all huge music fans here and it’s a collective pet hate of ours about ignorant people talking so loudly you can’t hear the band, especially at intimate gigs.
I could go on but I won’t only to say that Eden’s Curse got better as the night wore on with Kane’d co-vocalist Stacey taking the roles of Liv Kristine and Pamela Moore on Unconditional and Angels And Demons respectively, she unsurprisingly got the biggest cheer of the night (mainly due to half of Kane’d being in attendance) but for the most part this was brilliant set let down by a miserable Wednesday night crowd. Eden’s Curse are coming back next year and playing bigger venues in the Spring, go and check them out then as they are still one of the best and often overlooked bands in the scene.
I’d been looking forward to this gig for a while, after the hugely well attended gigs we’d been to on the weekend it was nice to back to the smaller more ‘local’ shows. Having said that upon arriving just before the support I was a little disheartened to see just how few people were at the gig, especially because Eden’s Curse are currently on tour with Michael Schenker. This was a one off headline show on that tour before they made their way up to Prestatyn for Hard Rock Hell, support came from Traitor’s Gate (6) who we’d seen the previous month supporting Diamond Head and the set was pretty much the same just on a smaller stage, although this time there was not a lyric sheet to be seen. Playing to a few people has to be disheartening for many bands so kudos for them for putting in the effort but I’m just still not too fussed on Traitor’s Gate’s middle of the road NWOBHM on stage.
Next up were multi-national melodic metal band Eden’s Curse (8) who are a slick professional unit with years of experience on the stage, on record and in the case of bass player Paul Logue behind the producer’s chair. The band is currently touring their Testament record which showcases the best songs from both eras of Eden’s Curse with Michael Eden and Nikola Mijić behind the mic. When you listen to the album you can hear that the style doesn’t change much between the two singers only that AOR elements creep in with Mijić as the prog touches fade out. Coming onto the stage with their big backdrops they did seem a little cramped with keyboardist Christian "Chrism" Pulkkinen relegated to by the stage door, however it’s his table full of tech that allows Eden’s Curse to get that studio sound in the live arena, it means there’s big (taped) backing vocals and a well rounded sound bolstered by the use of an extensive sound desk!
The performance was more static than normal as the conditions of the venue wouldn’t allow much room to move but there was enough movement and passion from the band to keep the visual interest especially Nikola who’s voice is perfect. Guitarist Thorsten Köhne, takes a solitary position for most of the set but shreds with ease peeling off solos during every track. A brief mention to for John Clelland (drums) who brings the thump with Logue live. The set was basically the first disc of their new record in full and I believe in order (though I’d have to check), it was a good plan as essentially playing a ‘greatest hits’ meant that most knew at least a few of the songs. Now this is where I got a little annoyed, with the show, the crowd was small with even Nikola commenting (I mean they are used to playing to bigger crowds with Schenker) and for such a small crowd many of the ‘hardcore’ that is folks with Eden’s Curse t-shirts stood and talked through the first four songs with it being the most notable on ballad Turn The Page, although when I can hear the guys in front of me during a rocker like The Great Pretender then it strikes me that they might be at the wrong gig. I know we speak about this a lot but we’re all huge music fans here and it’s a collective pet hate of ours about ignorant people talking so loudly you can’t hear the band, especially at intimate gigs.
I could go on but I won’t only to say that Eden’s Curse got better as the night wore on with Kane’d co-vocalist Stacey taking the roles of Liv Kristine and Pamela Moore on Unconditional and Angels And Demons respectively, she unsurprisingly got the biggest cheer of the night (mainly due to half of Kane’d being in attendance) but for the most part this was brilliant set let down by a miserable Wednesday night crowd. Eden’s Curse are coming back next year and playing bigger venues in the Spring, go and check them out then as they are still one of the best and often overlooked bands in the scene.
Saturday, 10 November 2018
A View From The Back Of The Room: Slayer (Review By Paul)
Slayer, Lamb Of God, Anthrax, Obituary, Motorpoint Arena, Cardiff
There wasn’t enough pyro over the entire fireworks weekend to match the ferocity that accompanied the final show in Wales from arguably the most influential metal band of all time. The juggernaut that is Slayer, accompanied by a bill that was sufficiently robust to have sold out many arenas without the headliners, rolled into the Welsh capital for one final reminder of their supremacy and sheer power.
Slayer have never been the most frequent visitors to Cardiff, having made a mere three appearances before this gig; all at the Motorpoint Arena with their last show the 2008 Unholy Alliance III show. Their last visit to South Wales had seen them sell-out the Newport Centre with ease in 2015. Now, 30 years after their initial appearance in South Wales when I was present at the Newport Centre on the World Sacrifice tour, it was time to pay respects and throw those horns as the Slatanic Whermacht assembled once more on the streets around the Motorpoint Arena. The buzz had been building for weeks but walking from the station one could sense the anticipation and excitement in the air.
With doors at the early time of 17:30, the MIA staff appeared to have done a bloody marvellous job of getting everyone through quickly and it was with relative ease and little queuing that we headed into the darkness in time to see the glinting backdrop of Floridian Death Metallers Obituary (8). If you want no frills, gnarly yet superbly executed death metal no-one does it better. With a short slot the band wasted no time in levelling the arena with an eight-song set which tore through the packed arena like chainsaws. Redneck Stomp set the pace, which didn’t let up. The buzzing guitars of Trevor Peres and Kenny Andrews hit low and hard, John Tardy prowled and growled and as the pits erupted it was pleasing to see that the Cardiff crowd were able to respond in appropriate style. As the strains of Slowly We Rot faded at the end of their blistering set, the arena was already gasping for air and steeling itself for round two.
There’s a standard reliability about Anthrax (7). They have some massive tunes and they hit the stage 20 minutes ahead of schedule with an urgency that was breathtaking. Thumping out Cowboys From Hell before launching into a rabid Caught In A Mosh, the arena melted into chaos and carnage and when the band then burst through Got The Time and I Am The Law it was, for a brief moment, 1986 all over again. With Scott Ian as intense as ever, Frank Bello running back and fore as it trying to extinguish a fire and Joey Belladonna on fine vocal form, Anthrax were looking good. Be All, End All from State Of Euphoria was a welcome addition to the set list, allowing guitarist Jonathan Donais to show his chops. All the while Charlie Benante hammered seven shades out of his kit. Evil Twin dropped the pace a little and as I’ve commented before, Antisocial weakened the set further. As I headed toward the back before the end of the set the traditional pantomime of Scott Ian stopping Indians for the 'War Dance’ cry played out. Don’t get me wrong, Anthrax were great, but out of the four bands this night they were the weakest for me.
I’d missed Lamb Of God (9) on their last tour but there was not a chance in hell I was doing that tonight. As the Virginians caused mass explosions across the arena with their choice to open the set with a monstrous Omerta. I know various people who don’t like LOG but they were clearly in the minority as the bulk of the crowd lost their shit. The groove metal that the band from Richmond play is infectious, and with a killer set this was a demonstration of potential future arena headliners. Ferociously heavy at times, Randy Blythe was the very picture of focus and intensity he prowled the stage, flanked by guitarists Willie Adler and Mark Morton. John Campbell’s thunderous bass lines linked with stand in drummer Art Cruz, the Prong drummer who has been filling in for Chris Adler for the past few months. Ruin was simply huge, whilst the three beasts dragged in from Sacrament destroyed. Walk With Me In Hell encouraged huge vocal support whilst the pits never stopped moving. The middle section contained two tracks from VII: Sturm Und Drang whilst it is unlikely that there are many better double endings than Laid To Rest and Redneck. It was infectious stuff and, in my opinion, fully justified the decision to put the band directly before Slayer.
9.25pm. The house lights dimmed, and four huge white crosses hung above the stage. Slowly, as Delusions Of Saviour poured out of the PA system, the crosses inverted and disappeared, replaced by the Slayer logo. Huge explosions and it was time for an hour and a half of unrelenting Slayer (10). I’ve seen Slayer many times, and there have been occasions when the band have been less than inspiring, but this show was as aggressive and violent as anything I’ve ever witnessed from them. The set list was immense, top track after top track bludgeoning the rabid crowd, all drawn towards the massive stage set, complete with copious amounts of flame and pyro. Repentless passed in the blink of an eye, Blood Red and Disciple came and went with similar ferocity, before the slower Mandatory Suicide allowed the old school to loosen necks and limbs. With Tom Araya almost static in the middle of the stage, and suddenly looking old and slightly unwell, it was left to Gary Holt and Kerry King who sliced, diced and shredded with a brutality almost beyond comprehension.
There wasn’t enough pyro over the entire fireworks weekend to match the ferocity that accompanied the final show in Wales from arguably the most influential metal band of all time. The juggernaut that is Slayer, accompanied by a bill that was sufficiently robust to have sold out many arenas without the headliners, rolled into the Welsh capital for one final reminder of their supremacy and sheer power.
Slayer have never been the most frequent visitors to Cardiff, having made a mere three appearances before this gig; all at the Motorpoint Arena with their last show the 2008 Unholy Alliance III show. Their last visit to South Wales had seen them sell-out the Newport Centre with ease in 2015. Now, 30 years after their initial appearance in South Wales when I was present at the Newport Centre on the World Sacrifice tour, it was time to pay respects and throw those horns as the Slatanic Whermacht assembled once more on the streets around the Motorpoint Arena. The buzz had been building for weeks but walking from the station one could sense the anticipation and excitement in the air.
With doors at the early time of 17:30, the MIA staff appeared to have done a bloody marvellous job of getting everyone through quickly and it was with relative ease and little queuing that we headed into the darkness in time to see the glinting backdrop of Floridian Death Metallers Obituary (8). If you want no frills, gnarly yet superbly executed death metal no-one does it better. With a short slot the band wasted no time in levelling the arena with an eight-song set which tore through the packed arena like chainsaws. Redneck Stomp set the pace, which didn’t let up. The buzzing guitars of Trevor Peres and Kenny Andrews hit low and hard, John Tardy prowled and growled and as the pits erupted it was pleasing to see that the Cardiff crowd were able to respond in appropriate style. As the strains of Slowly We Rot faded at the end of their blistering set, the arena was already gasping for air and steeling itself for round two.
There’s a standard reliability about Anthrax (7). They have some massive tunes and they hit the stage 20 minutes ahead of schedule with an urgency that was breathtaking. Thumping out Cowboys From Hell before launching into a rabid Caught In A Mosh, the arena melted into chaos and carnage and when the band then burst through Got The Time and I Am The Law it was, for a brief moment, 1986 all over again. With Scott Ian as intense as ever, Frank Bello running back and fore as it trying to extinguish a fire and Joey Belladonna on fine vocal form, Anthrax were looking good. Be All, End All from State Of Euphoria was a welcome addition to the set list, allowing guitarist Jonathan Donais to show his chops. All the while Charlie Benante hammered seven shades out of his kit. Evil Twin dropped the pace a little and as I’ve commented before, Antisocial weakened the set further. As I headed toward the back before the end of the set the traditional pantomime of Scott Ian stopping Indians for the 'War Dance’ cry played out. Don’t get me wrong, Anthrax were great, but out of the four bands this night they were the weakest for me.
I’d missed Lamb Of God (9) on their last tour but there was not a chance in hell I was doing that tonight. As the Virginians caused mass explosions across the arena with their choice to open the set with a monstrous Omerta. I know various people who don’t like LOG but they were clearly in the minority as the bulk of the crowd lost their shit. The groove metal that the band from Richmond play is infectious, and with a killer set this was a demonstration of potential future arena headliners. Ferociously heavy at times, Randy Blythe was the very picture of focus and intensity he prowled the stage, flanked by guitarists Willie Adler and Mark Morton. John Campbell’s thunderous bass lines linked with stand in drummer Art Cruz, the Prong drummer who has been filling in for Chris Adler for the past few months. Ruin was simply huge, whilst the three beasts dragged in from Sacrament destroyed. Walk With Me In Hell encouraged huge vocal support whilst the pits never stopped moving. The middle section contained two tracks from VII: Sturm Und Drang whilst it is unlikely that there are many better double endings than Laid To Rest and Redneck. It was infectious stuff and, in my opinion, fully justified the decision to put the band directly before Slayer.
9.25pm. The house lights dimmed, and four huge white crosses hung above the stage. Slowly, as Delusions Of Saviour poured out of the PA system, the crosses inverted and disappeared, replaced by the Slayer logo. Huge explosions and it was time for an hour and a half of unrelenting Slayer (10). I’ve seen Slayer many times, and there have been occasions when the band have been less than inspiring, but this show was as aggressive and violent as anything I’ve ever witnessed from them. The set list was immense, top track after top track bludgeoning the rabid crowd, all drawn towards the massive stage set, complete with copious amounts of flame and pyro. Repentless passed in the blink of an eye, Blood Red and Disciple came and went with similar ferocity, before the slower Mandatory Suicide allowed the old school to loosen necks and limbs. With Tom Araya almost static in the middle of the stage, and suddenly looking old and slightly unwell, it was left to Gary Holt and Kerry King who sliced, diced and shredded with a brutality almost beyond comprehension.
The speed was punishing. Little conversation from Araya allowed the band to bulldoze through the set, although his introduction to War Ensemble did allow for the crowd to join in. Paul Bostaph's battering ram drumming was exceptional. Postmortem and Black Magic were welcome additions in the middle of the set, both greeted by huge roars from old school fans. And so, it continued. Song. Bam. Song. Bam. Flames and pyro and lighting. Fast, furious and epic. So much lighting, cleverly matching the several switches of back drop enhanced the set and focused on separate periods of the bands career. This was a band who clearly wanted to ensure that they do go out with a bang. In what seemed like minutes it was Hell Awaits, with raging infernos at the back of the stage, it really looked like the band were playing in Old Nick’s front room.
The encore was perfect and if there were four songs that encapsulated what Slayer is all about, then it was these four. South Of Heaven segued into the most gargantuan Raining Blood I’ve ever seen, and suddenly it dawned that this was the end. Chemical Warfare snarled and ripped, played at breakneck speed before Angel Of Death, complete with Hannerman backdrop picked off the final survivors. As Araya said goodbyes, this was it. Hopefully it will be. As fantastic as Slayer were, one can only hope that their farewell tour really is that. Memories galore abound, and this was an evening with which to cement those memories and pay tribute to a truly legendary band.
Slayer, Lamb Of God, Anthrax & Obituary, Birmingham Arena
With ears still ringing from their epic finale in South Wales a mere two days before, I ended a busy work day with a rush across the second city to catch Floridian death metal legends Obituary (8) pick up from where they left off a couple of days before. The Birmingham Arena is at least twice as big as the Motorpoint in Cardiff and whilst the hardcore were crammed down the front there was vast spaces in the seats and towards the rear of the standing area. Undeterred, Obituary crashed through the same set as earlier with even more intensity and power. There is nothing about this band that isn’t worth watching, with the buzzsaw guitars decimating all around. From the opening bars of Red Neck Stomp to the grinding devastation of Slowly We Rot, Obituary continue to be one of the seminal bands from the death metal camp and remain mesmerising to watch despite the limited movement on stage. Crushing death metal at its absolute best.
The encore was perfect and if there were four songs that encapsulated what Slayer is all about, then it was these four. South Of Heaven segued into the most gargantuan Raining Blood I’ve ever seen, and suddenly it dawned that this was the end. Chemical Warfare snarled and ripped, played at breakneck speed before Angel Of Death, complete with Hannerman backdrop picked off the final survivors. As Araya said goodbyes, this was it. Hopefully it will be. As fantastic as Slayer were, one can only hope that their farewell tour really is that. Memories galore abound, and this was an evening with which to cement those memories and pay tribute to a truly legendary band.
Slayer, Lamb Of God, Anthrax & Obituary, Birmingham Arena
With ears still ringing from their epic finale in South Wales a mere two days before, I ended a busy work day with a rush across the second city to catch Floridian death metal legends Obituary (8) pick up from where they left off a couple of days before. The Birmingham Arena is at least twice as big as the Motorpoint in Cardiff and whilst the hardcore were crammed down the front there was vast spaces in the seats and towards the rear of the standing area. Undeterred, Obituary crashed through the same set as earlier with even more intensity and power. There is nothing about this band that isn’t worth watching, with the buzzsaw guitars decimating all around. From the opening bars of Red Neck Stomp to the grinding devastation of Slowly We Rot, Obituary continue to be one of the seminal bands from the death metal camp and remain mesmerising to watch despite the limited movement on stage. Crushing death metal at its absolute best.
Movement has never been a problem for New Yorkers Anthrax (8) who upped their game substantially from their performance a couple of nights earlier. Whether it was being in the home of heavy metal, the larger crowd or just a bit of rest between shows I don’t know but this was Anthrax hitting top gear. I still get irked by a double cover in a set of eight songs but whilst Antisocial still does little for me, Got The Time was blistering. Evil Twin remained a weak link but when you can bookend your set with Cowboys From Hell and include the monsters from Among The Living it certainly wasn’t a bad set. I’d still prefer Madhouse or Metal Thrashing Mad but fair play, Belladonna, Ian and co played a blinder.
On Monday I was close to the front for the raw aggressive groove of Lamb Of God (9). I’d taken a position much further towards the back but despite the additional distance there was no less fire in the Richmond outfit’s performance as they ripped through their set. Randy Blythe continues to run around the stage like a man possessed and his short speech about Black Sabbath raised a massive roar. The addictive groove laden metal these guys deliver really gets me moving and I was given a number of curious looks as the small bloke in a Motörhead Cymru t-shirt repeatedly lost it to the likes of Ruin, Laid To Rest and Redneck. Whilst the Birmingham crowd may have the numbers, the Welsh crowd certainly have the passion. A huge circle pit ensured that the action at the front was ferocious but towards the back there was lots of static observers. Such is life I guess.
Slayer (10) played an unrelenting barrage on Monday and didn’t look as if they had stopped. The larger arena allowed me a bit of distance to admire the stunning stage set, the pyro and lighting as heat inducing from 50 metres away as it was from ten. The set list may not have changed but there was nothing routine about the band’s effort. Holt and King riffed and shredded with a venom not seen for a long time, with War Ensemble and Dead Skin Mask particularly epic. The spectacle of Hell Awaits with huge swathes of flames burning at the back of the stage produced gasps from the audience whilst I was able to stand back and soak it up. The very bowels of hell on stage. Seasons In The Abyss and an even faster Dittohead also stood out, but it was the smooth taper from South Of Heaven into Reigning Blood that once again captured essence of Slayer. With the Hanneman banner once more choking me up as the band closed their set with Angel Of Death, I reflected that I still have one more opportunity to see this most relentless of metal outfits once more; roll on Madrid for viewing number 3.
On Monday I was close to the front for the raw aggressive groove of Lamb Of God (9). I’d taken a position much further towards the back but despite the additional distance there was no less fire in the Richmond outfit’s performance as they ripped through their set. Randy Blythe continues to run around the stage like a man possessed and his short speech about Black Sabbath raised a massive roar. The addictive groove laden metal these guys deliver really gets me moving and I was given a number of curious looks as the small bloke in a Motörhead Cymru t-shirt repeatedly lost it to the likes of Ruin, Laid To Rest and Redneck. Whilst the Birmingham crowd may have the numbers, the Welsh crowd certainly have the passion. A huge circle pit ensured that the action at the front was ferocious but towards the back there was lots of static observers. Such is life I guess.
Slayer (10) played an unrelenting barrage on Monday and didn’t look as if they had stopped. The larger arena allowed me a bit of distance to admire the stunning stage set, the pyro and lighting as heat inducing from 50 metres away as it was from ten. The set list may not have changed but there was nothing routine about the band’s effort. Holt and King riffed and shredded with a venom not seen for a long time, with War Ensemble and Dead Skin Mask particularly epic. The spectacle of Hell Awaits with huge swathes of flames burning at the back of the stage produced gasps from the audience whilst I was able to stand back and soak it up. The very bowels of hell on stage. Seasons In The Abyss and an even faster Dittohead also stood out, but it was the smooth taper from South Of Heaven into Reigning Blood that once again captured essence of Slayer. With the Hanneman banner once more choking me up as the band closed their set with Angel Of Death, I reflected that I still have one more opportunity to see this most relentless of metal outfits once more; roll on Madrid for viewing number 3.
Reviews: Anathema, Cancer, Terrorizer, Abstract Void (Reviews By Paul H & Sean)
Anathema: Internal Landscapes 2008-18 (Kscope Records) [Paul H]
The tenth anniversary of progressive label Kscope is a milestone that is worth raising a glass for. The label has been massively influential in the progressive rock scene, with a real who’s who of artists stabling with them. Iamthemorning, Steven Wilson, Gazpacho, Blackfield, Porcupine Tree, Godsticks, Lunatic Soul, Nordic Giants and Porcupine Tree are just a few. Add to that list Anathema. The Liverpudlians have spent the past decade nestled under the label’s wing, and it has certainly coincided with the emergence of one of the finest bands that the UK has ever produced. In his opening liner notes on this beautifully curated compilation, Daniel Cavanagh says “from the moment we agreed to a deal with Kscope in 2008 it felt that we were ready for a new beginning”.
During that decade the band released four quite breath-taking studio albums, each evolving organically, as well as a plethora of live releases and what Cavanagh terms “interim albums”. What’s particularly interesting about this release is that whilst it contains some of the best loved songs that the band have ever released, it also charts the highs and lows which they experienced. The creative peaks, the camaraderie in the studio and on the road, through to the melancholy that individual members experienced as they dealt with their personal demons and managed the slow but steady trajectory that their craft so richly deserves.
Tracks from Weather Systems, We’re Here Because We’re Here, Distant Satellites and 2017’s The Optimist all fit perfectly with the inevitable anthems of Untouchable. Part I and Part II sandwiched between Anathema and Thin Air. The inclusion of two tracks from those ‘interim albums’ ensures full representation from across the catalogue. The Goosebumps stood highest with the Dave Stewart collaboration and orchestral reinterpretation of J’ai Fait Une Promesse, released on the 2011 Falling Deeper album but originally on the band’s 1993 debut album Serenades. The 2008 acoustic release Hindsight is represented with Are You There? which originally featured on 2003’s A Natural Disaster. If this was the last set list I ever listened to, I would die a contented man. If there is a better, more progressive and intelligent band than Anathema then I don’t want to hear them. This is perfection. It may be a compilation album, but what a superb showcase of ten years’ worth of work from a band who can do no wrong in my eyes and ears. Buy it. Listen to it. Smile, weep, reflect and enjoy. 10/10
Cancer: Shadow Gripped (Peaceville Records) [Paul H]
Ironbridge death metal legends Cancer return from the studio with Shadow Gripped, their first release since 2005 and the first to feature the original line up of John Walker, Carl Stokes and Ian Buchanan since 1995. It was first time to return to 1990 and a quick spin of To The Gory End which always stokes the fires before commencing the wrestling match with album number 6. Shadow Gripped doesn’t disappoint, with ten tracks of gnarly, fiery and positively filthy old school death metal. Sometimes the simplest approach is the most effective, and tracks such as Ballcutter, Organ Snatcher and the brutally sinister Garrotte bludgeon without mercy. This is Cancer stripping back to the old days, peeling off the crap that critics have showered and lambasted them with post Death Shall Rise.
Having played the festival circuit for several years, the trio decided to head back to the studio with the sole intention of pleasing themselves with their output. As John Walker stated in the latest edition of the excellent Zero Tolerance, “we got the bug again. Yet we didn’t have any expectations, beyond pleasing ourselves”. It may be nothing particularly new, but the return to the sound which made those first two albums such cult classics is certainly in evidence on Shadow Gripped. There may not be as much flair and the band are possibly playing it safe but fuck, this is Cancer. They dictate their own path. If you don’t like it, I doubt they really care. 8/10
Terrorizer: Caustic Attack (The End Records) [Sean]
As we unwillingly subjected to passage of time, some of us are privileged to age like fine wine and mellow with each passing year. Others, however, remain as cantankerous and as angry as the day they were freed from their fleshy prison. No signs of mellowing here, always kicking and forever screaming which is thankfully the case for death/grind grandaddies Terrorizer. For those unaware, legendary skinsman Pete “Commando/The Feet” Sandoval has been leading the charge since their inception in 1986. Now back with a brand new line featuring current and former member of Monstrosity, Terrorizer are revamped, rearmed and ready to open fire. As soon as intro Turbulence, Terrorizer aren’t taking any prisoners with as son a Invasion fires it’s opening rounds. With Lee Harrisons's scathing tremolo riffs, Sandoval impeccable drumming and Sam Molina’s grunt, Caustic Attack continues to bulldoze it’s way through trench after trench of furious death metal. Crisis is an absolute ripper, opting for a more syncopated pace but no less punishing than its predecessor Devastate. Infiltration embraces some punky riffing before succumbing to rapid fire blast beats.
Poison Gas Tsunami is the equivalent of warfare, whilst Failed Assassin contains some truly stunning drum work. It’s heartening to hear after all these years that Sandoval has lost none of his potency, with Molina and Harris strengthening the pure power on display. Caustic Attack does exactly what it says on the tin, succeeding in being the veritable blitzkrieg that it set out to be. The only gripe here is a slight lack of variance among the carnage, due to the largely absent punk/grind flavour that meshed with the older works so well. The more death metal focused assault, whilst pretty fucking savage, does get at times a touch repetitive. Whilst undeniably brutal, it may turn off those hoping for the grinding glory of World Downfall. Musical pedantry aside, when it’s good it’s really fucking good and an enjoyable sledgehammer to the system. There’s plenty of righteous rage left in the tank, plenty of ire in the fire and Terrorizer still are as mean and brutal as the world we live in. 8/10
Abstract Void: Back To Reality (Self Released) [Paul H]
It took about 30 seconds to realise that this album was the output of a one-man project. It sounds it. There’s little soul or feeling here. Blackgaze, synthwave, whatever label you add to it can’t disguise the fact that it is awful. Programmed, muffled and lacking originality, no wonder the person behind it remains anonymous. I’ve read some very positive feedback about this and debut release Into The Blue so maybe it’s just me but I feel generous giving it the score I have. 1/10
The tenth anniversary of progressive label Kscope is a milestone that is worth raising a glass for. The label has been massively influential in the progressive rock scene, with a real who’s who of artists stabling with them. Iamthemorning, Steven Wilson, Gazpacho, Blackfield, Porcupine Tree, Godsticks, Lunatic Soul, Nordic Giants and Porcupine Tree are just a few. Add to that list Anathema. The Liverpudlians have spent the past decade nestled under the label’s wing, and it has certainly coincided with the emergence of one of the finest bands that the UK has ever produced. In his opening liner notes on this beautifully curated compilation, Daniel Cavanagh says “from the moment we agreed to a deal with Kscope in 2008 it felt that we were ready for a new beginning”.
During that decade the band released four quite breath-taking studio albums, each evolving organically, as well as a plethora of live releases and what Cavanagh terms “interim albums”. What’s particularly interesting about this release is that whilst it contains some of the best loved songs that the band have ever released, it also charts the highs and lows which they experienced. The creative peaks, the camaraderie in the studio and on the road, through to the melancholy that individual members experienced as they dealt with their personal demons and managed the slow but steady trajectory that their craft so richly deserves.
Tracks from Weather Systems, We’re Here Because We’re Here, Distant Satellites and 2017’s The Optimist all fit perfectly with the inevitable anthems of Untouchable. Part I and Part II sandwiched between Anathema and Thin Air. The inclusion of two tracks from those ‘interim albums’ ensures full representation from across the catalogue. The Goosebumps stood highest with the Dave Stewart collaboration and orchestral reinterpretation of J’ai Fait Une Promesse, released on the 2011 Falling Deeper album but originally on the band’s 1993 debut album Serenades. The 2008 acoustic release Hindsight is represented with Are You There? which originally featured on 2003’s A Natural Disaster. If this was the last set list I ever listened to, I would die a contented man. If there is a better, more progressive and intelligent band than Anathema then I don’t want to hear them. This is perfection. It may be a compilation album, but what a superb showcase of ten years’ worth of work from a band who can do no wrong in my eyes and ears. Buy it. Listen to it. Smile, weep, reflect and enjoy. 10/10
Cancer: Shadow Gripped (Peaceville Records) [Paul H]
Ironbridge death metal legends Cancer return from the studio with Shadow Gripped, their first release since 2005 and the first to feature the original line up of John Walker, Carl Stokes and Ian Buchanan since 1995. It was first time to return to 1990 and a quick spin of To The Gory End which always stokes the fires before commencing the wrestling match with album number 6. Shadow Gripped doesn’t disappoint, with ten tracks of gnarly, fiery and positively filthy old school death metal. Sometimes the simplest approach is the most effective, and tracks such as Ballcutter, Organ Snatcher and the brutally sinister Garrotte bludgeon without mercy. This is Cancer stripping back to the old days, peeling off the crap that critics have showered and lambasted them with post Death Shall Rise.
Having played the festival circuit for several years, the trio decided to head back to the studio with the sole intention of pleasing themselves with their output. As John Walker stated in the latest edition of the excellent Zero Tolerance, “we got the bug again. Yet we didn’t have any expectations, beyond pleasing ourselves”. It may be nothing particularly new, but the return to the sound which made those first two albums such cult classics is certainly in evidence on Shadow Gripped. There may not be as much flair and the band are possibly playing it safe but fuck, this is Cancer. They dictate their own path. If you don’t like it, I doubt they really care. 8/10
Terrorizer: Caustic Attack (The End Records) [Sean]
As we unwillingly subjected to passage of time, some of us are privileged to age like fine wine and mellow with each passing year. Others, however, remain as cantankerous and as angry as the day they were freed from their fleshy prison. No signs of mellowing here, always kicking and forever screaming which is thankfully the case for death/grind grandaddies Terrorizer. For those unaware, legendary skinsman Pete “Commando/The Feet” Sandoval has been leading the charge since their inception in 1986. Now back with a brand new line featuring current and former member of Monstrosity, Terrorizer are revamped, rearmed and ready to open fire. As soon as intro Turbulence, Terrorizer aren’t taking any prisoners with as son a Invasion fires it’s opening rounds. With Lee Harrisons's scathing tremolo riffs, Sandoval impeccable drumming and Sam Molina’s grunt, Caustic Attack continues to bulldoze it’s way through trench after trench of furious death metal. Crisis is an absolute ripper, opting for a more syncopated pace but no less punishing than its predecessor Devastate. Infiltration embraces some punky riffing before succumbing to rapid fire blast beats.
Poison Gas Tsunami is the equivalent of warfare, whilst Failed Assassin contains some truly stunning drum work. It’s heartening to hear after all these years that Sandoval has lost none of his potency, with Molina and Harris strengthening the pure power on display. Caustic Attack does exactly what it says on the tin, succeeding in being the veritable blitzkrieg that it set out to be. The only gripe here is a slight lack of variance among the carnage, due to the largely absent punk/grind flavour that meshed with the older works so well. The more death metal focused assault, whilst pretty fucking savage, does get at times a touch repetitive. Whilst undeniably brutal, it may turn off those hoping for the grinding glory of World Downfall. Musical pedantry aside, when it’s good it’s really fucking good and an enjoyable sledgehammer to the system. There’s plenty of righteous rage left in the tank, plenty of ire in the fire and Terrorizer still are as mean and brutal as the world we live in. 8/10
Abstract Void: Back To Reality (Self Released) [Paul H]
It took about 30 seconds to realise that this album was the output of a one-man project. It sounds it. There’s little soul or feeling here. Blackgaze, synthwave, whatever label you add to it can’t disguise the fact that it is awful. Programmed, muffled and lacking originality, no wonder the person behind it remains anonymous. I’ve read some very positive feedback about this and debut release Into The Blue so maybe it’s just me but I feel generous giving it the score I have. 1/10
Friday, 9 November 2018
Reviews: Last Union, A.M, Vibrant Heels, Johnny Wore Black (Matt H)
Last Union: Twelve (Rock Of Angels Records)
Italian progressive metal band Last Union have debuted their first album Twelve. It features Dream Theater's vocalist (James LaBrie - Ed) on four of the songs if that entices you. As someone who hasn’t ever listened to a single Dream Theater song it makes me question why he’s on four of these tracks. Was Last Union really that concerned that their work wouldn’t hold up without him? Well if that was anyone’s concern, I can proudly say that you needn’t worry. Last Union has released an epic debut album that deserves the praise it is receiving. Putting my considerable bias in favour of female vocalists in heavy music aside, the music of Last Union is immediately catchy and memorable without being overly simplistic.
On the other hand, occasionally the intros into the song don’t seem to match the song itself, creating a strange dissonance. Nowhere is that more obvious than in The Best Of Magic, a song that has a wonderful intro and matching chorus but the verses seem strangely different. Of course, it is entirely possible that my lack of understanding is due to a difference in culture. This is my first Italian metal band after all. So I’m willing to give a reasonable amount of doubt in that particular criticism. After all it’s the only one I can actually think up. I honestly think this is a terrific piece of work. And like most music I enjoy, it took me a few listens to really understand what was going on and become invested. As catchy as this music is, it isn’t immediately digestible. If you invest a little bit of yourself in Last Union then you’ll get a lot out of it. 8/10
A M: Believe (Self Released)
Is there a reason why your mix is so guitar focused? I mean… I love it, I love the guitars in this music but do you think maybe turning up the vocals a little bit would be a good idea? Anyway on to the review, I feel that it’s important to mention early on that I weirdly like this album. I think it’s really enjoyable whilst also not being particularly nuanced or developed in the way that I usually like my music. As a lyricist I tend to be focused on the poetry of a song but a lot of music isn’t interested in being that. Sometimes music is just raw grungy emotion. That’s exactly what we have here. Raw emotion in song form, it’s basically the essence of being a teenager distilled into music. The riffs are repetitive but powerful, the mix is focused on the guitars because it’s punky as all hell and gosh darn awesome. I don’t exactly know how to fully articulate an opinion on this music. There are aspects that I’m not so fond of I suppose.
The vocals have been messed with and had a radio filter placed on top of them, they’re dull in the mix and the instruments aren’t exactly eventful but with those things in mind there is something incredibly engaging about these songs. I had an absolute blast playing these in the background whilst I did other things. Perhaps the best way to describe this album is as a more powerful form of elevator music, something to head band along to whilst you move through your day. If you’re a teenager looking to express yourself without words please give this a listen. I am actually very encouraged to see these guys live because I want to experience the emotion of their music in the room with them. If the band in question read this review, please contact me so I can buy tickets to your shows, I am so up for more of this. In summary: All the songs are banging, guitar focused tunes that deserve at least one listen through. 7/10
Vibrant Heels: Driven (Self Released)
On the other hand, occasionally the intros into the song don’t seem to match the song itself, creating a strange dissonance. Nowhere is that more obvious than in The Best Of Magic, a song that has a wonderful intro and matching chorus but the verses seem strangely different. Of course, it is entirely possible that my lack of understanding is due to a difference in culture. This is my first Italian metal band after all. So I’m willing to give a reasonable amount of doubt in that particular criticism. After all it’s the only one I can actually think up. I honestly think this is a terrific piece of work. And like most music I enjoy, it took me a few listens to really understand what was going on and become invested. As catchy as this music is, it isn’t immediately digestible. If you invest a little bit of yourself in Last Union then you’ll get a lot out of it. 8/10
A M: Believe (Self Released)
Is there a reason why your mix is so guitar focused? I mean… I love it, I love the guitars in this music but do you think maybe turning up the vocals a little bit would be a good idea? Anyway on to the review, I feel that it’s important to mention early on that I weirdly like this album. I think it’s really enjoyable whilst also not being particularly nuanced or developed in the way that I usually like my music. As a lyricist I tend to be focused on the poetry of a song but a lot of music isn’t interested in being that. Sometimes music is just raw grungy emotion. That’s exactly what we have here. Raw emotion in song form, it’s basically the essence of being a teenager distilled into music. The riffs are repetitive but powerful, the mix is focused on the guitars because it’s punky as all hell and gosh darn awesome. I don’t exactly know how to fully articulate an opinion on this music. There are aspects that I’m not so fond of I suppose.
The vocals have been messed with and had a radio filter placed on top of them, they’re dull in the mix and the instruments aren’t exactly eventful but with those things in mind there is something incredibly engaging about these songs. I had an absolute blast playing these in the background whilst I did other things. Perhaps the best way to describe this album is as a more powerful form of elevator music, something to head band along to whilst you move through your day. If you’re a teenager looking to express yourself without words please give this a listen. I am actually very encouraged to see these guys live because I want to experience the emotion of their music in the room with them. If the band in question read this review, please contact me so I can buy tickets to your shows, I am so up for more of this. In summary: All the songs are banging, guitar focused tunes that deserve at least one listen through. 7/10
Vibrant Heels: Driven (Self Released)
Now this, this is my shit! Screaming into life with gutturally fried vocals and a ridiculously catchy riff the likes of which I’ve not heard since The Dead Kennedys Too Drunk To Fuck (catchiest riff ever written, screw you if you disagree), Vibrant Heels instantly made a fan of me with their opening song Royal Mud. I’ll be damned if I can hear what the vocalist is actually saying apart from the general gist but does that stop me from being heavily invested in what largely amounts to vocal noises with a guitar behind it? Absolutely not! I want this song playing when I’m driving everywhere. The awesome bass lines alone in Soak It Up are enough to appreciate this band. I wonder if it’s the seemingly punk inspired riffs that really make me appreciate this band? Everything this band is doing is worn on its sleeve. It’s straightforward, repetitive, catchy and therefore awesome. However by the fourth song is this album I did start to wonder if there was anything else to this band? It becomes slightly difficult to understand what’s going on with the lyrics when the vocals are so low in the mix and even more difficult when the screams kick in.
As much as I find this music viscerally engaging, my desire for something deeper in music is left sadly lacking by this. Maybe the lyrics are deep and truly profound but I can’t hear the damn things so I don’t really know. And on the subject of things that wear thin, would it kill anyone in this band to write a melody that doesn’t match the guitar riff or visa versa? I love the occasional harmonies that come straight out of a 50s doo-wop group but that’s about it for my appreciation of the melodies. Make no mistake this is yet another band that believes guitar is the most important instrument, I mean… I get it but it’s probably not true (side note: the guitars really are awesome)
I fear the reader will relate to my thought process far too well by listening to this album. I have a feeling this band would be better off releasing singles over albums so they don’t betray how one-note they can appear. With that being said, I’ll keep saying it, the guitars are amazing and perfect driving music. 5/10
Johnny Wore Black: Ultra Violent Light (EMP Label Group)
As much as I find this music viscerally engaging, my desire for something deeper in music is left sadly lacking by this. Maybe the lyrics are deep and truly profound but I can’t hear the damn things so I don’t really know. And on the subject of things that wear thin, would it kill anyone in this band to write a melody that doesn’t match the guitar riff or visa versa? I love the occasional harmonies that come straight out of a 50s doo-wop group but that’s about it for my appreciation of the melodies. Make no mistake this is yet another band that believes guitar is the most important instrument, I mean… I get it but it’s probably not true (side note: the guitars really are awesome)
I fear the reader will relate to my thought process far too well by listening to this album. I have a feeling this band would be better off releasing singles over albums so they don’t betray how one-note they can appear. With that being said, I’ll keep saying it, the guitars are amazing and perfect driving music. 5/10
Johnny Wore Black: Ultra Violent Light (EMP Label Group)
Johnny Wore Black’s album Ultra Violent Light isn’t my usual taste. As a critic it is expected that I can remove myself from opinion in order to critique the bare bones of the music I am given. And indeed that is always the attempt; to be truly reflexive and somehow compose criticism that transcends the public water cooler that the internet has become. So when I inform the readers of this review that I didn’t like this album as a whole, or indeed any of the songs individually, take that with however much salt is required to prevent ire towards my person. I found the folk style vocals of singer Jay Coen were admittedly talented and pretty but ultimately not what I look for in music of this genre. His style presents an almost passionless affect that left me waiting for every song to actually kick in. On the other hand, the melody lines, whilst not being particularly interesting, are repeated enough to remain lodged in your brain for a while. That being said, I thought the instrumental sections worked well and were well written. The drum lines are often simplistic but used to great effect in the songs. The guitars partner well doing a lot of the work that I usually expect the vocals to do in rock music. In searching for a way to summarise my feelings I turn towards my training in film and media.
The Kuleshov effect is a phenomenon in film that demonstrates the power of changing the mood of an image with the use of associated images. In this critic’s humble opinion, Johnny Wore Black implements this with their instruments; using them to create a different tone in a vocal performance that is often dull sounding. Nowhere is this compounded more than in Ultra Violent Light (great name), the eponymous track of the album. The vocals are so filtered and low in the mix that it falls on the instruments to bring forth the emotion required. Of course since I do not speak guitar, I am a little confused as to what emotion the band would like me to feel in this song. In this review I am unfortunately focused on the vocals and I believe that’s because I feel they reduce the power of the band. Clearly, talented musicians were involved in this but my inability to appreciate the vocal lines (and to be honest a lot of the lyrics) leaves me with mostly bored impressions of this band. Summary: Not my thing, but if you like it, that’s awesome. 4/10
The Kuleshov effect is a phenomenon in film that demonstrates the power of changing the mood of an image with the use of associated images. In this critic’s humble opinion, Johnny Wore Black implements this with their instruments; using them to create a different tone in a vocal performance that is often dull sounding. Nowhere is this compounded more than in Ultra Violent Light (great name), the eponymous track of the album. The vocals are so filtered and low in the mix that it falls on the instruments to bring forth the emotion required. Of course since I do not speak guitar, I am a little confused as to what emotion the band would like me to feel in this song. In this review I am unfortunately focused on the vocals and I believe that’s because I feel they reduce the power of the band. Clearly, talented musicians were involved in this but my inability to appreciate the vocal lines (and to be honest a lot of the lyrics) leaves me with mostly bored impressions of this band. Summary: Not my thing, but if you like it, that’s awesome. 4/10
Reviews: House Of Aterus, Mother Feather, Ashes Of My Memory, Rezn (Paul & Paul)
House Of Atreus: From The Madness Of Ixion (Iron Bonehead) [Paul S]
House Of Atreus are a Minnesotan death metal band. The four piece have been going since 2011. From The Madness Of Ixion in the band's second album coming 3 years after the band's first album The Spear And The Ichor That Follows. Most of the material on this album would fit loosely into a melodic death metal template. There are some blast beats, but not that many, and they aren’t that extreme when they do arrive. This album is far more concerned with great riffs and melody, rather than extremity for extremities sake. First track The Madness Of Ixion starts with a short section of blasting before settling down to a more mid-paced feel. Great riffs and lots of melody. Oath Of The Horatii has a faster harder more aggressive feel. The riffs are a little more thrashy, the drums have more snare, giving the song a slightly more purposeful sense. The slightly thrashy feeling is also present on the track Call To Thee, Concubines.
This track has an almost black thrash feeling, maybe a little like Skeletonwitch. The melodic death metal is there on all these tracks, but the band temper it with little tastes of other styles. The track Ad Hominem has a slower, more measured feel to it. Although the track is slower, the quality of the riffs, combined with a innate sense of melody and tunefulness make this a really great track. Not a standout track on a first listen, but it’s understated musicality grow on the listener, the more the album is listened to. Bonded Beyond Supremacy finishes the album off nicely, another measured piece of death metal. This album isn’t very immediate, I’ve had to give it a few listens to really get into it. However, if you give it a little time it becomes a really great album. The albums strengths are in strong songwriting, based around very well written riffs. The dynamics of the album are very good as well, the songs build and diminish, ebb and flow really well. A very well realised death metal album that does not rely on gimmicks or extreme for extremities sake histrionics. 8/10
Mother Feather: Constellation Baby (Metal Blade Records) [Paul H]
Constellation Baby is the sophomore release from NYC’s Mother Feather, a chaotic amalgamation of rock, pop and punk. Led by Anne Courtney, Mother Feather’s line-up is completed by vocalist/keyboardist Elizabeth Carena, guitarist Chris Foley, Seth Ondracek on bass and drummer Gunnar Olsen. Crammed full of feisty anthemic tracks which lay bare the emotions of the band. Empowering, defiant and most of all catchy, there is a range here which should appeal to those who want their rock n’ roll served with something a little different. There is a feminist angle, such as the title track which Courtney has stated carries an important message. ‘Ultimately it's a feminist prayer of super-connection. It's a wish for myself and others. I want women to be free and I want to be an example’.
Recorded and produced over three months in Brooklyn, there is something for everyone here. I love the rockabilly feel of Snakebite, whilst Shake Your Magic 8 Ball is a contagious dance track with a filthy grungy undercurrent. A little further away from our usual offerings, there is nevertheless something here which would allow most of us a nibble without feeling guilty. Mother Feather have already completed a Warped Tour, a Radio 1 Rock Show Session and some sell-out UK dates. Ten tracks, 33 minutes long; they may not be playing BOA anytime soon, but I’d wager that Mother Feather will be a household name before too long. 7/10
Ashes Of My Memory: Raptures///Disillusions (Self Released) [Paul H]
This is the debut EP from four-piece melodic death/progressive metal band Ashes Of My Memory, who hail from South Tyrol, Italy. Although the group has been around for nearly a decade, having formed when most of the band were mere teenagers, much of that time has seen them on hiatus before a self-made demo We Are Ghosts surfaced in 2012. With influences that spread wide from The Ocean, Opeth, Omnium Gatherum and Mastodon, the two tracks on offer here are unsurprisingly lengthy and complex beasts which range from thundering blast beat riddled passages with death growls through to gentle clean harmonies which soar with crystal clarity.
The Cycle is slightly the longer of the two tracks, with The Decline falling a mere 14 seconds shorter. Both tracks ebb and flow like a tributary forging its way through the frost coated countryside. Delicious ethereal sections juxtapose with heavier parts to produce an interesting and impressive release. Ashes Of My Memory are Lukas Niederwolfsgruber on drums, Felix Niedermair on guitar, Sebastian Kuen on bass and vocals and Michael Berger on guitar and vocals. This EP is a super taster of a band that will hopefully hit us hard with a full-length release before too long. 8/10
Rezn: Calm Black Water (Off The Record) [Paul S]
Rezn are a Chicago based four piece who have been active since 2016. This is the band's second album, only one year after their debut Let It Burn. The band play a particularly huge brand of psychedelic doom. The doom parts have a certain resemblance to stoner metal gods Sleep (could I get away with saying they are a little ‘Sleepy’? no probably not). When the doom riffs come in they are huge, just massive head nodding lazy stoner riffs. The other sound this band is great at are blissed out psychedelic sections that are dreamlike, floaty, hypnotic and ethereal. The psychedelic sections, tend to have great bass-lines going that keep the energy flowing.
Opening track Iceberg starts with a huge doomy section, that has a towering riff. It’s impossible to not bang your head to, I can imagine whole dance-floors bouncing in time to this track. The song then goes into a floaty psychedelic section with echoey vocals and interesting other noises. I can hear sitars, saxophones and several other instruments in these psychedelic sections (although one band member is down as playing ‘Modular Synth’ so these could be software instruments rather than real ones). Mirrored Mirage is psychedelic the whole way through, it’s a blissful, beautiful track. The counterpoint between the heavy as fuck parts and the softer more ethereal elements is what makes this album. This is ably demonstrated by the track High Tide which has a massive, slightly aggressive heavy riff juxtaposed with a very soft almost ambient psychedelic passage, before the immense riff returns. Bottom Feeder is a faster track, with a driving bass-line and ends with some really interesting drums.
The album ends with the track Sunken. This has probably the heaviest riff on the album as an opening riff. The track is heavy all the way through, and has a lot of what I think sounds like a saxophone, making the track a little reminiscent of 5 The Hierophant. The song ends with feedback, noise and fury, making it a very satisfying end to the album. This a great psychedelic doom album, as with all psychedelic doom albums it’ll take a few listens to really get into it, but this album is definitely worth the effort! 8/10
House Of Atreus are a Minnesotan death metal band. The four piece have been going since 2011. From The Madness Of Ixion in the band's second album coming 3 years after the band's first album The Spear And The Ichor That Follows. Most of the material on this album would fit loosely into a melodic death metal template. There are some blast beats, but not that many, and they aren’t that extreme when they do arrive. This album is far more concerned with great riffs and melody, rather than extremity for extremities sake. First track The Madness Of Ixion starts with a short section of blasting before settling down to a more mid-paced feel. Great riffs and lots of melody. Oath Of The Horatii has a faster harder more aggressive feel. The riffs are a little more thrashy, the drums have more snare, giving the song a slightly more purposeful sense. The slightly thrashy feeling is also present on the track Call To Thee, Concubines.
This track has an almost black thrash feeling, maybe a little like Skeletonwitch. The melodic death metal is there on all these tracks, but the band temper it with little tastes of other styles. The track Ad Hominem has a slower, more measured feel to it. Although the track is slower, the quality of the riffs, combined with a innate sense of melody and tunefulness make this a really great track. Not a standout track on a first listen, but it’s understated musicality grow on the listener, the more the album is listened to. Bonded Beyond Supremacy finishes the album off nicely, another measured piece of death metal. This album isn’t very immediate, I’ve had to give it a few listens to really get into it. However, if you give it a little time it becomes a really great album. The albums strengths are in strong songwriting, based around very well written riffs. The dynamics of the album are very good as well, the songs build and diminish, ebb and flow really well. A very well realised death metal album that does not rely on gimmicks or extreme for extremities sake histrionics. 8/10
Mother Feather: Constellation Baby (Metal Blade Records) [Paul H]
Constellation Baby is the sophomore release from NYC’s Mother Feather, a chaotic amalgamation of rock, pop and punk. Led by Anne Courtney, Mother Feather’s line-up is completed by vocalist/keyboardist Elizabeth Carena, guitarist Chris Foley, Seth Ondracek on bass and drummer Gunnar Olsen. Crammed full of feisty anthemic tracks which lay bare the emotions of the band. Empowering, defiant and most of all catchy, there is a range here which should appeal to those who want their rock n’ roll served with something a little different. There is a feminist angle, such as the title track which Courtney has stated carries an important message. ‘Ultimately it's a feminist prayer of super-connection. It's a wish for myself and others. I want women to be free and I want to be an example’.
Recorded and produced over three months in Brooklyn, there is something for everyone here. I love the rockabilly feel of Snakebite, whilst Shake Your Magic 8 Ball is a contagious dance track with a filthy grungy undercurrent. A little further away from our usual offerings, there is nevertheless something here which would allow most of us a nibble without feeling guilty. Mother Feather have already completed a Warped Tour, a Radio 1 Rock Show Session and some sell-out UK dates. Ten tracks, 33 minutes long; they may not be playing BOA anytime soon, but I’d wager that Mother Feather will be a household name before too long. 7/10
Ashes Of My Memory: Raptures///Disillusions (Self Released) [Paul H]
This is the debut EP from four-piece melodic death/progressive metal band Ashes Of My Memory, who hail from South Tyrol, Italy. Although the group has been around for nearly a decade, having formed when most of the band were mere teenagers, much of that time has seen them on hiatus before a self-made demo We Are Ghosts surfaced in 2012. With influences that spread wide from The Ocean, Opeth, Omnium Gatherum and Mastodon, the two tracks on offer here are unsurprisingly lengthy and complex beasts which range from thundering blast beat riddled passages with death growls through to gentle clean harmonies which soar with crystal clarity.
The Cycle is slightly the longer of the two tracks, with The Decline falling a mere 14 seconds shorter. Both tracks ebb and flow like a tributary forging its way through the frost coated countryside. Delicious ethereal sections juxtapose with heavier parts to produce an interesting and impressive release. Ashes Of My Memory are Lukas Niederwolfsgruber on drums, Felix Niedermair on guitar, Sebastian Kuen on bass and vocals and Michael Berger on guitar and vocals. This EP is a super taster of a band that will hopefully hit us hard with a full-length release before too long. 8/10
Rezn: Calm Black Water (Off The Record) [Paul S]
Rezn are a Chicago based four piece who have been active since 2016. This is the band's second album, only one year after their debut Let It Burn. The band play a particularly huge brand of psychedelic doom. The doom parts have a certain resemblance to stoner metal gods Sleep (could I get away with saying they are a little ‘Sleepy’? no probably not). When the doom riffs come in they are huge, just massive head nodding lazy stoner riffs. The other sound this band is great at are blissed out psychedelic sections that are dreamlike, floaty, hypnotic and ethereal. The psychedelic sections, tend to have great bass-lines going that keep the energy flowing.
Opening track Iceberg starts with a huge doomy section, that has a towering riff. It’s impossible to not bang your head to, I can imagine whole dance-floors bouncing in time to this track. The song then goes into a floaty psychedelic section with echoey vocals and interesting other noises. I can hear sitars, saxophones and several other instruments in these psychedelic sections (although one band member is down as playing ‘Modular Synth’ so these could be software instruments rather than real ones). Mirrored Mirage is psychedelic the whole way through, it’s a blissful, beautiful track. The counterpoint between the heavy as fuck parts and the softer more ethereal elements is what makes this album. This is ably demonstrated by the track High Tide which has a massive, slightly aggressive heavy riff juxtaposed with a very soft almost ambient psychedelic passage, before the immense riff returns. Bottom Feeder is a faster track, with a driving bass-line and ends with some really interesting drums.
The album ends with the track Sunken. This has probably the heaviest riff on the album as an opening riff. The track is heavy all the way through, and has a lot of what I think sounds like a saxophone, making the track a little reminiscent of 5 The Hierophant. The song ends with feedback, noise and fury, making it a very satisfying end to the album. This a great psychedelic doom album, as with all psychedelic doom albums it’ll take a few listens to really get into it, but this album is definitely worth the effort! 8/10
Thursday, 8 November 2018
A View From The Back Of The Room: Hawkwind (Review By Paul H)
Hawkwind And Orchestra, London Palladium
Throughout their nearly 50 years of existence, Hawkwind, the space lords from Ladbroke Grove have always followed their own path. With founder member Dave Brock still very much the Captain at the controls, their latest collaboration with Mike Batt on Road To Utopia reworked some of their classic songs in impressive style. What was born out of that collaboration is several shows with a full orchestra in some of the country’s most iconic theatres. This had all the makings of a magnificent evening and so it proved.
Getting to central London is always more of a challenge than it should be but we were outside the Palladium by around 5.30pm, amused by the crusty hardcore Hawkwind fans in their white lab coats and ill-fitting shirts who were loitering with almost uncontrollable excitement, the remnants of their hair blowing in the breeze as they mingled with the thousands of tourists who drift along Oxford Street and into Carnaby Street with its garish Queen tribute lit up and stretching as far as the eye could see. A perfunctory pizza and a pint in the nearest decent boozer later and we joined the masses of old school fans who were gathered outside the venue. Once inside it was time to squeeze into the very small seats and marvel at the decadence of the theatre, with 2286 seats and dating back to 1910.
Before the arrival of the space lords though, we were treated/forced to endure/struggled with (take your pick) 30 minutes of tweeness from Blackheart Orchestra (5), a two piece from Manchester. Comprising Chrissy Mostyn and Richard Pilkington, the duo are both multi-instrumentalists who certainly play original music. Fusing a full range of styles this band is impossible to pigeon hole but suffice to say that in a warm dark theatre their emotional ambient and minimalist sound washed over me but did allow me a cheeky snooze before they finished their set.
Disappointingly, despite the show being advertised as sold out, the upper circle was far from full as the curtain lifted to reveal the Docklands Sinfonia and Mike Batt patiently waiting for the arrival of Captain Brock and co. Regardless of this, a huge roar welcomed the arrival of long serving drummer Richard Chadwick (30 years this year), bassist Niall Hone and recent additional Magnus Martin who played superbly all night on keyboards and guitar despite suffering a plethora of technical difficulties. Dave Brock, complete in summer hat and open toed sandals discreetly edged on from the right of the stage and with a swish of Batt’s baton we were off. The opening chords of Assault And Battery never fail to stir the emotions and signalled the start of a memorable evening. Before the show I wondered how well the orchestral arrangements would work with the swooping driven space rock, but I was reassured within seconds as the string and brass sections enhanced and complimented the music superbly.
Throughout their nearly 50 years of existence, Hawkwind, the space lords from Ladbroke Grove have always followed their own path. With founder member Dave Brock still very much the Captain at the controls, their latest collaboration with Mike Batt on Road To Utopia reworked some of their classic songs in impressive style. What was born out of that collaboration is several shows with a full orchestra in some of the country’s most iconic theatres. This had all the makings of a magnificent evening and so it proved.
Getting to central London is always more of a challenge than it should be but we were outside the Palladium by around 5.30pm, amused by the crusty hardcore Hawkwind fans in their white lab coats and ill-fitting shirts who were loitering with almost uncontrollable excitement, the remnants of their hair blowing in the breeze as they mingled with the thousands of tourists who drift along Oxford Street and into Carnaby Street with its garish Queen tribute lit up and stretching as far as the eye could see. A perfunctory pizza and a pint in the nearest decent boozer later and we joined the masses of old school fans who were gathered outside the venue. Once inside it was time to squeeze into the very small seats and marvel at the decadence of the theatre, with 2286 seats and dating back to 1910.
Before the arrival of the space lords though, we were treated/forced to endure/struggled with (take your pick) 30 minutes of tweeness from Blackheart Orchestra (5), a two piece from Manchester. Comprising Chrissy Mostyn and Richard Pilkington, the duo are both multi-instrumentalists who certainly play original music. Fusing a full range of styles this band is impossible to pigeon hole but suffice to say that in a warm dark theatre their emotional ambient and minimalist sound washed over me but did allow me a cheeky snooze before they finished their set.
Disappointingly, despite the show being advertised as sold out, the upper circle was far from full as the curtain lifted to reveal the Docklands Sinfonia and Mike Batt patiently waiting for the arrival of Captain Brock and co. Regardless of this, a huge roar welcomed the arrival of long serving drummer Richard Chadwick (30 years this year), bassist Niall Hone and recent additional Magnus Martin who played superbly all night on keyboards and guitar despite suffering a plethora of technical difficulties. Dave Brock, complete in summer hat and open toed sandals discreetly edged on from the right of the stage and with a swish of Batt’s baton we were off. The opening chords of Assault And Battery never fail to stir the emotions and signalled the start of a memorable evening. Before the show I wondered how well the orchestral arrangements would work with the swooping driven space rock, but I was reassured within seconds as the string and brass sections enhanced and complimented the music superbly.
The Golden Void followed before Steve Swindells’ Shot Down In The Night allowed the orchestra a break and Hawkwind (10) to accelerate to full speed. With Mr Dibs having left the band earlier this year, vocal duties rested back with Brock and Martin and to be honest, this is how I like it. At 77 years of age, Brock is incredible, still possessing all the attributes needed and comfortably combined his vocal, guitar and keyboard duties. His ironic anecdote about being arrested when busking outside the Palladium back in the 1960s was hilarious. Dib’s departure also allowed the band to return Arthur Brown to the fold and the God Of Hellfire didn’t disappoint. Fully robed up he ambled on like your demented grandfather, before flamboyantly narrating Paradox in his inimitable style.
A poignant We Took The Wrong Step Years Ago, complete with backdrop projections which showed melting polar ice caps and industrial pollution followed. The band are ardent environmentalists, supporting Badger.Org and Sea Shepherd which is all right in my book. Brown returned for a ferocious Sonic Attack, the maelstrom of hysteria steadily increasing as shouts of “do not panic” echoed around the venue and the orchestra built the frenzy of chaos. Brown didn’t feature for much else, although his addition to Damnation Alley was important, supporting Martin’s lead vocal effectively. A haunting Zarozinia, the first time I’d seen it live since 1986’s Chronicle Of The Black Sword tour was another track completely enhanced by the string section. As we reached the climax of the show, it was brilliant to see Batt adding tambourine when the orchestra rested. A sight I’d never thought I’d see! The final track with the orchestra was the best of the night, Arrival In Utopia from Choose Your Masques was simply mind-blowing. As the band departed to a huge applause, a final wave from Batt and his superb musicians signalled a mighty encore with just the four members of the band.
A poignant We Took The Wrong Step Years Ago, complete with backdrop projections which showed melting polar ice caps and industrial pollution followed. The band are ardent environmentalists, supporting Badger.Org and Sea Shepherd which is all right in my book. Brown returned for a ferocious Sonic Attack, the maelstrom of hysteria steadily increasing as shouts of “do not panic” echoed around the venue and the orchestra built the frenzy of chaos. Brown didn’t feature for much else, although his addition to Damnation Alley was important, supporting Martin’s lead vocal effectively. A haunting Zarozinia, the first time I’d seen it live since 1986’s Chronicle Of The Black Sword tour was another track completely enhanced by the string section. As we reached the climax of the show, it was brilliant to see Batt adding tambourine when the orchestra rested. A sight I’d never thought I’d see! The final track with the orchestra was the best of the night, Arrival In Utopia from Choose Your Masques was simply mind-blowing. As the band departed to a huge applause, a final wave from Batt and his superb musicians signalled a mighty encore with just the four members of the band.
Having played fantastically all night, it was an opportunity to pause and reflect about just how brilliant these musicians are. Using programming to achieve their swirling effects, the majority of Hawkwind’s sound is delivered by four guys at the front of the stage. A blistering Spirit Of The Age was followed by a pause with the acoustic Hymn To The Sun before those instantly recognisable chords brought the place to its feet as the anthem Silver Machine soared around this beautiful venue. With lasers and a light show which enhanced every note, this was a quite magnificent and special evening. Luckily for me I get to do it all again in three weeks when the good ship Hawkwind docks at The Forum in Bath. Grab a ticket if there are any left. It’s a fantastic trip.
A View From The Back Of The Room: Monuments & Vola
Monuments & Vola, The Globe, Cardiff
Arriving a little late at The Globe in Cardiff we had unfortunately missed both Atlas and Kadjina going into the venue just as the latter were finishing up. With a pretty full house ready to go clad in their best djent threads, a switch around next saw the rack of keyboards onto the stage.
This was the indicator that Danish proggers Vola (9) were taking to the stage. The four piece are rapidly becoming one of the most revered prog rock/metal bands on the scene, taking the stage they plunged straight into Smartfriend ramping up the heavy from the beginning as Martin Werner's intense keys and synths laid the foundation for Vola's sound letting Nicolai Mogensen (bass) lay down solid grooves as Adams Janzi plays some incredible off time jazz laced drum patterns. Up front Asger Mygind is stellar guitar player and singer reminding me a lot of Opeth's Mikael Akerfeldt if he smiled more. Vocally he's got the same timbre and can even stretch to growls if needed. Vola in general are the band Opeth would have been had they been starting now, drawing from the technical/djent metal scene rather than black/death metal one, while retaining that keen ear for 70's prog.
Arriving a little late at The Globe in Cardiff we had unfortunately missed both Atlas and Kadjina going into the venue just as the latter were finishing up. With a pretty full house ready to go clad in their best djent threads, a switch around next saw the rack of keyboards onto the stage.
This was the indicator that Danish proggers Vola (9) were taking to the stage. The four piece are rapidly becoming one of the most revered prog rock/metal bands on the scene, taking the stage they plunged straight into Smartfriend ramping up the heavy from the beginning as Martin Werner's intense keys and synths laid the foundation for Vola's sound letting Nicolai Mogensen (bass) lay down solid grooves as Adams Janzi plays some incredible off time jazz laced drum patterns. Up front Asger Mygind is stellar guitar player and singer reminding me a lot of Opeth's Mikael Akerfeldt if he smiled more. Vocally he's got the same timbre and can even stretch to growls if needed. Vola in general are the band Opeth would have been had they been starting now, drawing from the technical/djent metal scene rather than black/death metal one, while retaining that keen ear for 70's prog.
The set was very well paced with the majority of songs coming from there amazing new album Applause From A Distant Crowd meaning we got big hitters like the electronic Ghosts, the colossal groove of Whaler, but also the more melodic ambience of Ruby Pool and my favourite song the massively sing along Alien Shiver. This left just 3 songs from Inmazes but they were the industrial The Same War, the bubbling Starburn and the breathtaking finale of Stray The Skies. In a much more intimate venue than Bloodstock (the last place I'd seen the band) you could really pick up every nuance of their sound meaning that those in attendance were brought to applause once the set had ended.
It's here's I'll admit I'd never seen the headliners before, I was at the gig for Vola but having heard a lot of positives about Monuments (9) live mainly from my brother who is a a big fan of the band and bolstered by how good their most recent album was. Taking to the stage the five piece took their positions put their guitars high on their abdomens and start to riff like bastards getting the crowd nodding in unison from the off. A 'proper' djent band Monuments are all about the complex riffs, these are coupled with big groovy breakdowns and the impressive vocals from the bands frontman. Between the songs he's affable, funny and a notable tea drinker, during the songs he stalks the stage possessed by the music barking down the mic during the aggressive parts and crooning with ease in the lighter moments. What I did notice is the rapport that this band have with their fans, bringing them closer to the front so they can get involved with the pits, the head banging and when singer Chris got into the crowd they welcomed him like a conquering hero, hanging on every word and greeting every song like an old friend.
It's here's I'll admit I'd never seen the headliners before, I was at the gig for Vola but having heard a lot of positives about Monuments (9) live mainly from my brother who is a a big fan of the band and bolstered by how good their most recent album was. Taking to the stage the five piece took their positions put their guitars high on their abdomens and start to riff like bastards getting the crowd nodding in unison from the off. A 'proper' djent band Monuments are all about the complex riffs, these are coupled with big groovy breakdowns and the impressive vocals from the bands frontman. Between the songs he's affable, funny and a notable tea drinker, during the songs he stalks the stage possessed by the music barking down the mic during the aggressive parts and crooning with ease in the lighter moments. What I did notice is the rapport that this band have with their fans, bringing them closer to the front so they can get involved with the pits, the head banging and when singer Chris got into the crowd they welcomed him like a conquering hero, hanging on every word and greeting every song like an old friend.
I haven't seen this kind of fandom for a band in lot of genres and it was reciprocated by the band playing a set so tight it would need WD40 to come undone. With 5 from their recent album, 4 from the debut and 3 coming from their second record everyone got the songs they wanted and cheered extensively as the riffs began and ended. Like I said I came in knowing little of Monuments but the impressed me with their set. In fact both bands are leading the new wave of prog metal that is often sneered at but when you get a turnout and a reception like this it's clear that the doubters may just be wrong.
Wednesday, 7 November 2018
A View From The Back Of The Room: Damnation Festival (Review By Rich)
Damnation Festival 2018, Leeds University, Leeds
It was time for the yearly pilgrimage up north to Leeds for the fourteenth edition of Damnation Festival. With another stonking line up this was a sold out event boasting an impressive array of bands from the extreme end of the metal spectrum spread out across four stages within the labyrinthine confines of Leeds Students Union. Whatever your tastes in metal it is generally covered by Damnation and with so many bands across so many stages the day involves lots of rushing around and plenty of traipsing up and down stairs. There seemed to be a lot more people and as a result a lot more queuing this year which wasn’t managed very well by the event security resulting in lots of bottlenecks and vast amounts of people all trying to get down one small flight of stairs. This was a bit of an irritation and did cause me to miss bands but what I got to see made it all worth it in the end.
Unfortunately I did not make it in time for the start of the event missing VOLA who I really wanted to see. I arrived at the venue shortly before 2pm and after initially getting lost in the bowels of the venue I managed to find my way to the Tone MGMT stage (with some help from one of my friends) in time to catch Fukpig (6). This was one of the very few and very rare live appearances from the self styled necropunks. Battling against terrible sound Fukpig delivered a set of blackened twisted crust full of black humour, political commentary and utterly filthy music. Next up and kicking things off on the main Jagermeister stage were UK death metal veterans Cancer (8) who wasted no time in delivering crushing old school death metal to a packed out room with tunes such as Cancer Fucking Cancer, Into The Acid and Blood Bath. The band had just released their first new album in 13 years and new material The Infocidal stood up just as strong as the classic material. Unfortunately the set was cut short by a fire alarm and an evacuation of the building which seems to becoming a Damnation tradition with Pallbearer suffering the same experience last year.
After about 20 minutes we were allowed back into the building but the sheer amount of people heading down to the Tone MGMT and Eyesore Merch stages meant that I completely missed LIK. Opting to get some food and rest my feet instead of watching Ne Obliviscaris the next band I saw was the mighty Anaal Nathrakh (8) who are Damnation veterans but this was their first time playing on the main stage. With the huge sound system in the room Anaal Nathrakh sounded absolutely devastating and obscenely loud with some in the audience holding their fingers in their ears. Not known for being the happiest of frontmen Dave Hunt was in a remarkably cheery mood and the band played phenomenally well easily being the most extreme sounding band of the whole day. The set was far more leaning towards the bands more recent album with Obscene Like Cancer and Forward from latest album A New Kind Of Terror mixed in with cuts such as Depravity Favours The Bold, Hold Your Children Close And Pray For Oblivion and Forging Towards The Sunset. Older fans were serviced with In The Constellation Of The Black Widow and set closer Do Not Speak.
The next band I saw was Entombed A.D. (9). I had seen them play the night before in a mighty show with Vader but the performance was so strong that I simply had to see them again and they matched and even surpassed their Cardiff performance. The set was pretty much the same with Entombed A.D. cuts such as Back To The Front and Dead Dawn mixed in with plenty of classic Entombed material such as Living Dead, Stranger Aeons, Eyemaster and Out Of Hand, New song Fit For A King completely harks back to classic Entombed material and is a nice teaser for the upcoming new album. I left Entombed A.D. a little early to secure a good spot for Batuskha (9) which was a good idea as the room was at bursting point it was so crowded. The band were late getting on stage resulting in a bit of a restless crowd and opening with a rather drawn out ambient track resulted in the crowd becoming even more restless. When the band did finally perform their brand of atmospheric black metal a lot of the crowd had lost interest and were there chatting away loudly much to my irritation and the irritation of other people trying to watch the band. Despite the crappy audience Batushka played a mesmerising set of black metal with material pulled from their Litourgiya album.
Last time Ihsahn (10) had played in Leeds it was at the disastrous Ritual Festival where he was less than a happy fellow due to more than a many number of cock ups so it was great to see the full Ihsahn experience this time round unmarred by technical difficulties and behind the scenes cock ups. The man himself seemed delighted to be there and the resulting positivity bled through into the performance resulting in the finest set of the day. With a crystal clear sound and impressive light show Ihsahn completely won over the Damnation crowd with many jaws dropped including my own. The set was mostly from his latest two albums Àmr and Arktis with spellbinding renditions of Lend Me The Eyes Of Millenia, Sámr, Mass Darkness and Until I Too Dissolve. From older albums we got Frozen Lakes On Mars, A Grave Inversed and The Grave. The highlight of the set was the absolutely goosebump inducing Celestial Violence which had my jaw hitting the floor, my hairs standing on end and a lump forming in my throat. Magical moments like that is why I love music so much.
In much need of a rest due to my aching feet and realising that any other music would just sound inferior following that Ihsahn set I decided to sit out Vader and The Ocean and saved myself for the nights headliners - the godfathers of grindcore and all out extreme metal institution Napalm Death (9). I don’t believe it is possible for Napalm Death to perform badly as I have never seen anything less than a brilliant set from them and their headlining set at Damnation was no exception to this rule. Despite having been going all day and it being 11pm the crowd were hungry for some chaos and Napalm Death ably provided the soundtrack to carnage. The crowd were so eager to tear things up that they started a pit going before the band had even walked on stage but things truly erupted when the band opened with Multinational Corporations from their seminal debut album Scum. From there on we got treated to Napalm Death set staples, some very old material and cuts from their most recent works Apex Predator - Easy Meat and the recently released rarities album Coded Smears And More Uncommon Slurs.
It was time for the yearly pilgrimage up north to Leeds for the fourteenth edition of Damnation Festival. With another stonking line up this was a sold out event boasting an impressive array of bands from the extreme end of the metal spectrum spread out across four stages within the labyrinthine confines of Leeds Students Union. Whatever your tastes in metal it is generally covered by Damnation and with so many bands across so many stages the day involves lots of rushing around and plenty of traipsing up and down stairs. There seemed to be a lot more people and as a result a lot more queuing this year which wasn’t managed very well by the event security resulting in lots of bottlenecks and vast amounts of people all trying to get down one small flight of stairs. This was a bit of an irritation and did cause me to miss bands but what I got to see made it all worth it in the end.
Unfortunately I did not make it in time for the start of the event missing VOLA who I really wanted to see. I arrived at the venue shortly before 2pm and after initially getting lost in the bowels of the venue I managed to find my way to the Tone MGMT stage (with some help from one of my friends) in time to catch Fukpig (6). This was one of the very few and very rare live appearances from the self styled necropunks. Battling against terrible sound Fukpig delivered a set of blackened twisted crust full of black humour, political commentary and utterly filthy music. Next up and kicking things off on the main Jagermeister stage were UK death metal veterans Cancer (8) who wasted no time in delivering crushing old school death metal to a packed out room with tunes such as Cancer Fucking Cancer, Into The Acid and Blood Bath. The band had just released their first new album in 13 years and new material The Infocidal stood up just as strong as the classic material. Unfortunately the set was cut short by a fire alarm and an evacuation of the building which seems to becoming a Damnation tradition with Pallbearer suffering the same experience last year.
After about 20 minutes we were allowed back into the building but the sheer amount of people heading down to the Tone MGMT and Eyesore Merch stages meant that I completely missed LIK. Opting to get some food and rest my feet instead of watching Ne Obliviscaris the next band I saw was the mighty Anaal Nathrakh (8) who are Damnation veterans but this was their first time playing on the main stage. With the huge sound system in the room Anaal Nathrakh sounded absolutely devastating and obscenely loud with some in the audience holding their fingers in their ears. Not known for being the happiest of frontmen Dave Hunt was in a remarkably cheery mood and the band played phenomenally well easily being the most extreme sounding band of the whole day. The set was far more leaning towards the bands more recent album with Obscene Like Cancer and Forward from latest album A New Kind Of Terror mixed in with cuts such as Depravity Favours The Bold, Hold Your Children Close And Pray For Oblivion and Forging Towards The Sunset. Older fans were serviced with In The Constellation Of The Black Widow and set closer Do Not Speak.
The next band I saw was Entombed A.D. (9). I had seen them play the night before in a mighty show with Vader but the performance was so strong that I simply had to see them again and they matched and even surpassed their Cardiff performance. The set was pretty much the same with Entombed A.D. cuts such as Back To The Front and Dead Dawn mixed in with plenty of classic Entombed material such as Living Dead, Stranger Aeons, Eyemaster and Out Of Hand, New song Fit For A King completely harks back to classic Entombed material and is a nice teaser for the upcoming new album. I left Entombed A.D. a little early to secure a good spot for Batuskha (9) which was a good idea as the room was at bursting point it was so crowded. The band were late getting on stage resulting in a bit of a restless crowd and opening with a rather drawn out ambient track resulted in the crowd becoming even more restless. When the band did finally perform their brand of atmospheric black metal a lot of the crowd had lost interest and were there chatting away loudly much to my irritation and the irritation of other people trying to watch the band. Despite the crappy audience Batushka played a mesmerising set of black metal with material pulled from their Litourgiya album.
Last time Ihsahn (10) had played in Leeds it was at the disastrous Ritual Festival where he was less than a happy fellow due to more than a many number of cock ups so it was great to see the full Ihsahn experience this time round unmarred by technical difficulties and behind the scenes cock ups. The man himself seemed delighted to be there and the resulting positivity bled through into the performance resulting in the finest set of the day. With a crystal clear sound and impressive light show Ihsahn completely won over the Damnation crowd with many jaws dropped including my own. The set was mostly from his latest two albums Àmr and Arktis with spellbinding renditions of Lend Me The Eyes Of Millenia, Sámr, Mass Darkness and Until I Too Dissolve. From older albums we got Frozen Lakes On Mars, A Grave Inversed and The Grave. The highlight of the set was the absolutely goosebump inducing Celestial Violence which had my jaw hitting the floor, my hairs standing on end and a lump forming in my throat. Magical moments like that is why I love music so much.
In much need of a rest due to my aching feet and realising that any other music would just sound inferior following that Ihsahn set I decided to sit out Vader and The Ocean and saved myself for the nights headliners - the godfathers of grindcore and all out extreme metal institution Napalm Death (9). I don’t believe it is possible for Napalm Death to perform badly as I have never seen anything less than a brilliant set from them and their headlining set at Damnation was no exception to this rule. Despite having been going all day and it being 11pm the crowd were hungry for some chaos and Napalm Death ably provided the soundtrack to carnage. The crowd were so eager to tear things up that they started a pit going before the band had even walked on stage but things truly erupted when the band opened with Multinational Corporations from their seminal debut album Scum. From there on we got treated to Napalm Death set staples, some very old material and cuts from their most recent works Apex Predator - Easy Meat and the recently released rarities album Coded Smears And More Uncommon Slurs.
This was truly a chaotic, hot and sweaty set with temperatures rocketing in the room as people surged and smashed to crushing grind anthems such as When All Is Said And Done, Unchallenged Hate, Smash A Single Digit, Practice What You Preach, Scum, You Suffer, Dead, Suffer The Children and Silence IS Deafening. We also got the obligatory covers with set staple Nazi Punks Fuck Off by Dead Kennedys paired with Victims Of A Bomb Raid by Swedish hardcore legends Anti Cimex. The band brought things to a crushing finale with a furious Siege Of Power leaving a sweaty and exhausted crowd to make their way either to the Damnation after show party or out into the chilly Leeds night.
Yet again Damnation was a fantastic event though severely exhausting. It’s one of those events where you wish you could be several places at once as there are so many bands playing worth watching but it’s also a relentlessly punishing schedule where you unfortunately need to miss bands in order to rest, grab food, have drinks or simply go to the toilet. There was stuff I missed this year which I wanted to see but it’s always the case with a festival that you can’t see everything. I hope to be back up in Leeds same time next year with an equally incredible line up.
Yet again Damnation was a fantastic event though severely exhausting. It’s one of those events where you wish you could be several places at once as there are so many bands playing worth watching but it’s also a relentlessly punishing schedule where you unfortunately need to miss bands in order to rest, grab food, have drinks or simply go to the toilet. There was stuff I missed this year which I wanted to see but it’s always the case with a festival that you can’t see everything. I hope to be back up in Leeds same time next year with an equally incredible line up.
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