Music For Nurses - Music Reviews

Alexis Kings + Mashiri - Watford The Railway Club - Friday 4th March

2011-03-08T14:01:00.001-08:00

Alexis Kings and Mashiri are the latest musical exports from St. Columba’s College, St. Albans. They follow in the long line of...err, well...Julian Peretta...oh, and Saving Aimee (although personally speaking I think the less said about them the better). Although some may expect a certain rivalry to have developed between these two bands, such competition has barely materialised beyond jokey banter and tonight’s show at The Railway Club in Watford sees the first occasion in which the two bands play together, at the top of the same bill at this charity gig.

After a few other acts, whom I’ll do the honour of not mentioning so I don’t have to be nasty about them; it’s time for Mashiri to take to the stage. They kick off their half-hour set with a top notch rendition of their original ‘hit’ “Banter”, a song that immediately gets the crowd going with its Rage against the Machine esque dynamics and its shout along chorus. Indeed the assembled masses, which were largely immovable bar some horrific eighties dancing throughout the sets of previous acts, soon spill into a fair-sized moshpit (blame Stuart Smith for that one I reckon). The energy in the room rises even further as the set progresses. A large reason for this is Mashiri frontman Danny Edwin who successfully goads the crowd into keeping the intensity going as the band roll through their songs. The rhythm section of drummer Hugo Beardsall and bassist Joe Clapham gives all the tracks on display the sort of forceful, driving foundation that all good heavy rock songs need. Having lost a little of their original Rage-esque dynamics, the quartet now have a sound more along the lines of more melodic hard rock bands such as Alter Bridge but also retaining some elements of classic metal acts like Metallica. The key cog in the wheel is guitarist Mark Goodfellow. His riffs are the missing link in all the songs and his solo in the penultimate song of the set is so impressive that at least two members of the crowd unfamiliar with the band approach him to congratulate his guitar slinging prowess. A rousing run through of the wonderfully fun “Yeah Roy!” ends Mashiri’s set on a high, with the mosh pit extending across the entire dance floor and including both Edwin and Clapham, the latter of whom leaves his bass onstage so as to dive into the crowd. The set finishes on a high and it’s hard to see how Alexis Kings can top it.

To be fair to the Kings, it’s hard to really compare the band with Mashiri. Whereas Mashiri are more of a heavy rock act, Alexis Kings place their stock defiantly in the indie corner. Whilst this may on the surface sound like a bad thing (I for one have a tendency to bash indie bands for being overly generic), Alexis Kings have actually managed a fair few songs of note. Kicking off with the instantly memorable “Niuq”, the band clearly has a fair few fans in the audience and despite the fact that they are not as heavy as Mashiri they still get a fair bit of movement within the crowd with their danceable, jaunty tracks. Singer Brendan Aherne leads the way with his vocals which gel perfectly with the riffs of lead guitarist Sam Privett and rhythm section of Rory McCarthy and Luke Carolan. Including a snippet of potentially the most famous song of the nineties, Nirvana’s “Smells like Teen Spirit”, proves masterly in upping the energy of the crowd and the band’s set gains even more rock ‘n’ roll credibility when it is curfewed halfway through the encore; the sound rig closing down and the lights coming on, much to the disappointment of the crowd. Despite not quite living up to the high standards set by Mashiri earlier on in the night (sorry Sam), Alexis Kings certainly provide a good deal of entertainment and if you like your music based around hooks and spiky riffs, they are certainly the band for you.

Mashiri - 8/10
Alexis Kings - 7/10

Mashiri go all psychedelic - reviewer's head in bottom left makes picture

Sadly that's not the sight of Hugo Beardsall doing a drum solo

Mashiri guitarist Mark Goodfellow rocks the fuck out (that's a technical term)

Alexis Kings: so cool they come in black and white

Yeah, ok, Alexis Kings are definitely more photogenic than Mashiri

Alexis Kings guitarist Sam Privett poses for the camera

Top 100 albums of 2010

2011-01-05T11:08:00.000-08:00

100. GOD IS AN ASTRONAUT - Age Of The Fifth Sun
99. OCTOBER TIDE - A Thin Shell
98. CATHEDRAL - The Guessing Game
97. OMAR RODRIGUEZ-LOPEZ & JOHN FRUSCIANTE - Omar Rodriguez-Lopez & John Frusciante
96. SOILWORK - The Panic Broadcast
95. FREDRIKA STAHL - Sweep Me Away
94. DEMIANS - Mute
93. LIGHTGUIDES - Past & Present
92. OMAR RODRIGUEZ-LOPEZ QUARTET - Sepulcros De Miel
91. BAND OF HORSES - Infinite Arms
90. ORPHANED LAND - The Never Ending Way Of ORWarriOR
89. MINUS THE BEAR - Omni
88. AUDREY HORNE - Audrey Horne
87. UNDEROATH - Ø (Disambugation)
86. COHEED & CAMBRIA - Year Of The Black Rainbow
85. JONSI - Go
84. JUROJIN - The Living Measure Of Time
83. ASTROHENGE - Astrohenge
82. PHOSPHORESCENT - Here's To Taking It Easy
81. SOULFLY - Omen
80. TOM MCRAE - The Alphabet Of Hurricanes
79. ISOBEL CAMPBELL & MARK LANEGAN - Hawk
78. ADEBISI SHANK - This Is The Second Album Of A Band Called Adebisi Shank
77. A GENUINE FREAKSHOW - Oftentimes
76. SLEEPY EYES OF DEATH - Toward A Damaged Horizon
75. JIMMY EAT WORLD - Invented
74. DEAD LETTER CIRCUS - This Is The Warning
73. LOS CAMPESINOS! - Romance Is Boring
72. SIGH - Scenes From Hell
71. JAGA JAZZIST - One-Armed Bandit
70. EF - Golden Mourning
69. HARVEY MILK - A Small Turn Of Human Kindness
68. FAR - At Night We Live
67. ERRORS - Come Down With Me
66. FRIGHTENED RABBIT - The Winter Of Mixed Drinks
65. PULLED APART BY HORSES - Pulled Apart By Horses
64. UNEARTHLY TRANCE - V
63. DARK TIME SUNSHINE - Vessel
62. ALCEST - Ecailles De Lune
61. KYLESA - Spiral Shadow
60. PERFUME GENIUS - Learning
59. DARK TRANQUILLITY - We Are The Void
58. THE REPUBLIC OF WOLVES - Varuna
57. INTRONAUT - Valley Of Smoke
56. ROSE KEMP - Golden Shroud
55. RINOA - An Age Among Them
54. ROLO TOMASSI - Cosmology
53. THE OCTOBE GAME - Wildblood
52. TRIPTYKON - Eparistera Daimones
51. KAKI KING - Junior

50. HIGH ON FIRE – Snakes For The Divine
Matt Pike may have been playing some shows with his old band, monumental stoners Sleep, but High On Fire are still in action and “Snakes For The Divine” sees the collection of some of their best material to date. Their drug-induced bouldering riffs and melting solos all collide to create what is, nothing but glorious heavy metal...and, let’s be honest, that’s all we really need.

49. GRINDERMAN – Grinderman 2
Nick Cave’s good time garage rock outfit are back for more fun and games, and singing about sex, of course. To be fair they have stepped it up in the seriousness stakes a bit this time but it is clear that, at the end of the day, this is a project in existence so that Cave and his cronies can rock out without fear of spoiling the Bad Seeds aura of mystique. Not something that’s going to win Cave any plaudits that he hasn’t already won but something that might win him a few new fans.

48. HER NAME IS CALLA – The Quiet Lamb
In parts this record is possibly the finest art/post-rock release of the year, especially with the three pronged “The Union” that closes the record. Let down by occasional moments where the ideas seem to have run a bit dry, “The Quiet Lamb” is, overarchingly, a work of great presence, proving that the UK is full of bands with the potential to achieve greatness if allowed, as Her Name Is Calla have done here. Featuring flourishes of strings, brass and flute amongst the standards of guitar, bass, keys and drums, this is perhaps what GY! BE might sound a bit like if they had Thom Yorke as a vocalist.

47. BIRDS OF TOKYO – Birds Of Tokyo
To those familiar with Australian vocalist Ian Kenny purely through his work in Karnivool, the third record of his other band Birds Of Tokyo may come as something of a surprise. This is certainly rock at the poppy end of the scale with the likes of “Plans” being perfect for mainstream radio airplay. That does not make it bad at all though. Although some of the songs are less fully formed than others, things only ever get as bad as Scarlett Johansson looks on an off day (i.e. still pretty amazing). In fact it’s fair to say that if only all mainstream rock records had the sumptuous songwriting present here then the music world would be in far better health.

46. PAIN OF SALVATION – Road Salt One
It’s easy to understand why some hate Daniel Gildenlöw and Pain of Salvation. They can be a fairly pretentious bunch at times, especially on their last two records. However “Road Salt One” sees the band returning to slightly more restrained paths and sounding all the better for it. Whilst there are still plenty of, perhaps unnecessary to some, proggy flourishes and weird voices thrown in this is a rock record first and foremost with the likes of “Sisters” and “Innocence” being amongst the best songs the band has created to date.

45. WOMEN – Public Strain
Despite seemingly being in a permanent state of band infighting, to the extent where they cancelled their last tour after an onstage brawl during one of the first shows, “Public Strain” is a delightfully coherent art rock record. Shimmering shoegazey guitars work with glistening post-punk melodies to create a wholesome batch of glistening indie. Let’s hope the band can stay together long enough to produce something just as good.

44. SHEARWATER – The Golden Archipelago
Blessed with the unique vocals of ex-Okkervil River man Jonathan Meiburg, Shearwater’s “The Golden Archipelago” is Steven Wilson’s favourite album of the year and it’s not all that difficult to see why. This is one of those albums that is genuinely uplifting, not because of any particularly happy subject matter but because of the soaring, yet downbeat, instrumentation. An intriguing record that hopefully points to further excellence when the band release their new effort in early 2011.

43. MURDER BY DEATH – Good Morning, Magpie
Murder By Death may sound a little too much like a post-metal band for your tastes but rest assured they’re actually intent on delivering arty post-punk of the highest order. Bluesy, with a sound boosted (as usual with their records) by the use of cello to create almost Morricone-esque soundscapes, Adam Turla’s crew can always be relied on for something just a little bit different, unlike lesser contemporaries such as Interpol.

42. THE OCEAN – Anthropocentric
Providing a seemingly more thought-out follow up to “Heliocentric”, which was delivered earlier in the year, “Anthropocentric” sees The Ocean closer to their best than on the aforementioned predecessor. Although still showing elements of the sound introduced with “Heliocentric”, this record sees the collective return somewhat to their dense layers of sound. Vocalist Loïc Rossetti is also on far better form, which makes a major difference.

41. IN MOURNING – Monolith
Although they could be criticised for being a little bit too Opeth, In Mourning’s brand of progressive death metal (albeit a brand that is heavier on the death than their more famous Swedish counterparts) is rather delightful. Heavy, yet showcasing a similar degree of songwriting nous to melodeath legends At The Gates and Dark Tranquillity, this is Scandinavian metal at its finest and its always great to see another band coming through the ranks as In Mourning have with this release.

40. GNAW THEIR TONGUES – L’Arrivée de la Terne Mort Triomphante
It’s hard to imagine what makes anyone want to create music as horrific as this. The title is just the tip of a grotesque iceberg with five lengthy tracks of progressively damaging musical experimentation. Taking black metal as a starting point and ending up in a region that must be somewhere close to insanity, elements of classical and ambient music can be found here but only in coalition to create something painfully powerful, like the soundtrack to the triumphant death that the title refers to. Although it’s a little too wearing to be truly brilliant, there’s enough here to impress any avant-garde music fan. Perhaps not one for listening to at night though...

39. ILIKETRAINS – He Who Saw The Deep
The Leeds based quartet produce a record of impressive grandeur with “He Who Saw The Deep”. Having freed themselves to an extent from the historical reigns that constricted rather than aided them on previous efforts, this album sees the group focus more on actual songwriting than ever before. Although musically this is still a post-rock album, there’s more of a sense here that iLiKETRAiNS could move ahead into something far more daring. A promising release for sure.

38. LCD SOUNDSYSTEM – This Is Happening
James Murphy is clearly set upon making himself the unenviable task of putting fellow dance acts like Hot Chip and Simian Mobile Disco in the shadows by creating another record that is both full of genuine emotion and exciting beats. The likes of “I Can Change” are also fully formed pop songs, helping this record stand as one not just for fans of electronic music but also ones for fans of honest, soulful songwriting as well.

37. 65DAYSOFSTATIC – We Were Exploding Anyway
65dos’s journey from the style of post-rock to electronic music has culminated in “We Were Exploding Anyway”. Yes there are guitars buried in here but they are layered under driving synthesizers and bewitching dance rhythms. Some moments fall rather flat (see the Robert Smith featuring “Come To Me”) but some of the stuff on here is completely outrageous in its willingness to break the musical barriers the band had previously set for itself. This is definitely one of the most enjoyable releases of the year and prompts audiences to go joyously nuts live just as it will prompt individuals to go joyously nuts sitting listening at home.

36. MASSIVE ATTACK – Heligoland
Massive Attack seem to delight in making everyone doubt them but they always deliver and “Heligoland” is no exception to that rule. The likes of “Pray For Rain” and “Splitting The Atom” are amongst the best songs that the trip-hop pioneers have ever recorded. This record may not see the band treading new ground in as much of a way as “100th Window” but it’s a wholesome, cohesive effort with a seemingly infinite replay value. It’s good to see one of Britain’s best bands return so emphatically.

35. DEERHUNTER – Halcyon Digest
Only imperfect in that it is not quite as good as it might of been, “Halcyon Digest” is another excellent album by Deerhunter with the quartet again proving adept at translating frontman Bradford Cox’s tales of woe into widescreen indie rock anthems. Perhaps something of an acquired taste, Cox’s vocals are often left to take centre stage as guitars and drums make a racket in the background, allowing the listener to focus in on the lyrical content. Occasionally there are moments that don’t quite fit in but overall this is a fine effort from the Atlantans, although that cover art is perhaps a little too weird.

34. BROKEN SOCIAL SCENE – Forgiveness Rock Record
Forget Arcade Fire, if you want someone to combine indie, baroque pop, post-rock and experimental music then do not dare forget that Broken Social Scene are still around at the top of their game. Despite their being frequently overlooked by the mainstream music press, “Forgiveness Rock Record” shows the Canadians somewhere near their best and determined to impress. Not flashy, just defiantly unique and charming. If forgiveness sounds like this then perhaps we should all do a little more of it.

33. CIRCA SURVIVE – Blue Sky Noise
It’s about time that Circa Survive truly stepped up to the plate and delivered a record of undeniable excellence and that’s what they do with “Blue Sky Noise”. Previous efforts have suffered from a lack of focus and too much filler but these flaws are cleanly extracted here. Anthony Green’s vocals are still as marmite as they come but fans of both prog and pop will find much to love in the band’s widescreen approach to alternative rock.

32. FLYING LOTUS – Cosmogramma
Flying Lotus is undoubtedly one of the most important electronic musicians of our time and “Cosmogramma” is an excellent follow up to 2008’s stunning “Los Angeles”. A brilliant collaboration with Thom Yorke on “...And The World Laughs With You” provides a notable highlight and, although not quite up to the standards of previous collections, this is another superb release.

31. THE PINEAPPLE THIEF – Someone Here Is Missing
Regularly compared to Radiohead and Porcupine Tree, Bruce Soord’s west country crew have created what is by far their best album to date with “Someone Here Is Missing”. More of a straightforward rock record than a prog album, this record sees concise songwriting alongside dashes of experimental flair. Highlights include the excellent “Preparation For Meltdown” and the memorable title track. It is certainly satisfying to get a record that finally sees the group live up to their potential.

30. CLOUDKICKER – Beacons
A solo project from Columbus, Ohio resident Ben Sharp, “Beacons” is an even finer set of work than last year’s predecessor. This doesn’t sound anything like the work of one man in his spare time, instead bearing more resemblance to a work borne out of hours of a band jamming away in the studio. Some moments are startlingly beautiful in their completeness and others beguiling in their complexity, smouldering riffs reigning down on one another as if this form of music was the most natural thing in the world.

29. THE FLASHBULB – Arboreal
In 2008 The Flashbulb (Benn Jordan) created one of the most sumptuous electronic albums for years and 2010 sees him follow that up with another slice of genius in “Arboreal”. Emotive in the same way as a perfectly balanced movie soundtrack, this is a work of great artistic skill. The ambient pieces flow into one another to startlingly attractive effect, proving that music far from traditional song structures can still inspire one to a state of true awe.

28. SUN KIL MOON – Admiral Fell Promises
Maybe one day, in the distant mists of the future, Mark Kozelek will cheer up. When that day arrives then hopefully his music career will have reached a natural conclusion because it is hard to believe that the man is really suited to anything other than the stupendously miserable slow folk that has become his trademark, through Red House Painters, Sun Kil Moon and his other exploits. What matters is that Kozelek is still the master of his craft and “Admiral Fell Promises” is a brilliant return to form from the man after a bit of a patchy period. It’s not even that depressing...

27. ELECTRIC WIZARD – Black Masses
It’s hard to compare “Black Masses” to some of the more experimental and original releases that 2010 has seen but it’s not hard to proclaim it as one of the most enjoyable records of 2010. Dorset’s psychedelic stoner doom merchants have produced a slab of deliciously dense, fizzing riffage on this album, which is probably their finest since “Dopethrone”. It may be totally in thrall to Sabbath and it may well have sounded totally different to its creators when they were stoned recording it but its bloody hard not to love.

26. ARCADE FIRE – The Suburbs
Do you know what annoys me about Arcade Fire? It’s that, despite being constantly hailed as this oh-so-original art rock behemoth, they consistently create music that is unashamedly indie in nature. This doesn’t stop their music being very, very good as “The Suburbs” proves, but it does mean it’s hard to give them as much credit for the artistic flair that is present. This album is a great, no, a fantastic, collection of songs but it doesn’t carry the mark of a band that the rest of the rock world should look up to as pioneers. Leave that role for other bands and let Arcade Fire carry on writing their brilliant songs.

25. RED SPAROWES – The Fear Is Excruciating, But Therein Lies The Answer
Although there are plenty of people out there loving the chance to bemoan the quality in today’s post-rock scene far more than is actually necessary, the genre is still producing plenty of fine works. The latest Red Sparowes effort is certainly one of the finest in many years. More accomplished than the band’s previous works, this sees the group’s expansive sound restrained but all the more powerful as a result. A soaring example of instrumental brilliance.

24. FEAR FACTORY – Mechanize
When it was first revealed that Dino Cazares and Burton C. Bell had reunited in Fear Factory the metal world paused in shock. Thankfully the resulting album is a beast. A progression of Fear Factory’s purest sound, circa “Demanufacture”, but with occasional new stylistic aspects (like the guitar solo on “Fear Campaign”) this is better than anyone could have realistically hoped for. Whether the band will continue in the same vein is a mystery to all but this is one hell of a statement to make and it is one of the best metal records of 2010.

23. KVELERTAK – Kvelertak
Nutty Norwegians Kvelertak have decided that there is no point choosing your favourite genre to play when you could choose about seven different approaches and throw them all in a blender. A ludicrously enjoyable mix of black metal, hardcore punk, good time rock and sludge, all sung in angry sounding Norwegian, Kvelertak have created something as exciting as it is catchy, which considering the fact that I don’t speak Norwegian, is quite an achievement.

22. ROSETTA – A Determinism Of Morality
Rosetta claimed, before it was released, that their new record would be a seething hardcore journey rather than a brooding post-metal opus. In reality it is somewhere between the two and, perhaps as a direct result of that, is the group’s best work to date. Although the ambient soundscapes of their earlier work are still present here, they never threaten to lessen the blistering heaviness that Rosetta always have at their best. The epic closing title track might just be the best piece the band ever pen whilst this is also a lesson in conciseness that many similar bands could learn from. Nothing on “A Determinism...” overstays its welcome nor oversteps its mark, creating a sumptuous full-length.

21. SUFJAN STEVENS – The Age Of Adz
Having confirmed everyone’s suspicions that the whole “I’m gonna record an album for each US state” thing was a jokey marketing ploy, Sufjan Stevens returns with another album of pretty sensational experimental indie folk pop with added electronica. “The Age of Adz” is probably Stevens’ best full-length yet. The likes of “Vesuvius” and “I Want To Be Well” are pretty much pop songwriting perfection despite their instrumentation. Of course the term ‘pop’ might put some off but this isn’t the sound of Stevens catering to the mainstream; it’s the sound of Stevens at his most inspired and creative. Even the 25 minute (yes, 25 minutes long, you read that right) closer “Impossible Soul” somehow works out as being a 21st century pop anthem of true greatness.

20. LIARS – Sisterworld
“Sisterworld” is a record of such dark intensity that the likes of “Drop Dead” and “Scarecrows On A Killer Slant” are actually quite frightening, albeit brilliant. This experimental rock trio really are determined to be one of the most wonderfully unique acts around today, not so much in terms of musical structures but in terms of the melding of sounds into music that, for a change, is truly ‘alternative’. Liars are going to be remembered for their art and “Sisterworld” may just be the pinnacle of their career.

19. ENSLAVED – Axioma Ethica Odini
Some may be complaining that Enslaved have left their black/Viking metal roots too far behind them but, let’s be honest, those people are fools. Enslaved have grown into a band apart from any extreme metal scene and are all the better for it. More than any previous record by the band, “Axioma Ethica Odini” sees Enslaved outstripping their peers and creating something that is a work of supremely confident, heavy, atmospheric, progressive metal. Certainly the Norwegians’ best effort yet.

18. IHSAHN – After
The ex-Emperor man’s third solo record sees him pushing further into the progressive sphere than ever before, with the help provided by Shining saxophonist Jørgen Munkenby being especially crucial. What is perhaps most impressive is that, despite the fact that this is a record in which all the instrumentation is par de excellence, nothing is allowed to extend into the wankery that Dream Theater can occasionally be guilty of. Ihsahn has created something here that is deserving of the label ‘progressive metal’.

17. U.S. CHRISTMAS – Run Thick In The Night
Combining elements of psychedelia, prog, metal and country, U.S. Christmas (USX) have produced a fascinating journey with “Run Thick In The Night”, their debut for the Neurot label. The band’s sound is certainly as free flowing as could be hoped, no doubt assisted by the fact that all the individual members are given free reign over their instrumental parts. Hard to categorise, harder to criticise, this is the work of a band that have the potential to go on and create album after album of near perfection.

16. LETLIVE – Fake History
“Fake History” is an astonishing record in its determination to stand out from the post-hardcore crowd. Firstly because the band seems perfectly happy to chuck in bits of anything they want, from soul to jazz, and secondly because the consistent quality of the songs is of the highest standard one can ever expect from this kind of album. Letlive are one of the best new bands to emerge for many a year.

15. THE UNWINDING HOURS – The Unwinding Hours
Craig B and Iain Cook working together again is a dream for Aereogramme fans. This debut self-titled album sees the duo moving in similar circles to the last Aereogramme record; they could have got away with releasing it as an Aereogramme record I’m sure. The quality of the songs is undeniable and the gorgeous melodies are propelled into the skies by soaring vocals and frequently beautiful soundscapes. Closer “The Final Hour” may just be the best song to emerge in the entire history of the duo’s creative partnership. Let’s hope more is to come.

14. AMIA VENERA LANDSCAPE – The Long Procession
This Italian sextet provides post-metal both at its most aggressive and it’s most peaceful. The likes of opener “Empire” are rabid in their ferocity whilst the tranquillity of the ambient moments (including all of “Ascending”) is really something to behold. It is rare for a debut album to be as convincing as this and it suggests a special band. “The Long Procession” is certainly a special album, although one could argue that a bit more editing might be appropriate on occasion. This is certainly up there with the best underground metal debuts of the twenty-first century.

13. KANYE WEST – My Beautiful Dark Twisted Fantasy
After a couple of disappointing records Kanye West returns to his very best with “My Beautiful Dark Twisted Fantasy”. Featuring some brave moves, such as sampling King Crimson on the brilliant “Power”, and hooks aplenty (see the spellbinding “Monster”), this is a triumph of a genre that has been wading through treacle for many a year. West has proven himself an artist first and a pop star second. This is hip-hop at its very best.

12. TITUS ANDRONICUS – The Monitor
Titus Andronicus are essentially an old school punk rock band, except their songs can go on for anywhere between two and fifteen minutes and their lyrics are less political rallying cries and more a sea of self-dissatisfaction and odes to drinking, all related in varying degrees to the concept of the American civil war. With the charming quality of sounding like it was recorded whilst the entire band were rather drunk and proud of the fact, “The Monitor” takes a couple of listens to get used to but when it hits home it is difficult not to like. This is far from being a groundbreaking record but it’s a record that clearly means something to its creators and it will mean a hell of a lot to many fans as well.

11. SHINING – Blackjazz
The combination of jazz and extreme metal may not immediately leap to mind as something that should work but work it does and Norwegian loons Shining are determined to prove it to everybody. The shrill sax of Jorgen Munkenby alongside devilishly heavy, occasionally painful riffs and growls is something that really has to be heard to be believed and, although it should come with a health warning of some description, “Blackjazz” is one of the finest pieces of musical art for many years.

10. THE DILLINGER ESCAPE PLAN – Option Paralysis
Whilst some would have you believe that “Option Paralysis” sees DEP going all soft in actual fact they have produced a record more complete in its aural devastation than any of their previous efforts. Yes, there are soaring clean vocals (Patton-esque of course) and even soothing piano (see “Widower”) buried in amongst the band’s trademark twisting mathcore but this album still has more than its fair share of ear shredding brutality as well, with the increased free jazz influences present on this record turning it into something utterly inhuman in its precision. In fact, “Option Paralysis” is the record that will enshrine DEP’s position as one of the landmark metal bands of an era.

9. THE TALLEST MAN ON EARTH – The Wild Hunt
Kristian Matsson is the folk singer of the 21st century thus far. His beautiful hymns to the natural world, love and hope are reminiscent of Bob Dylan at his absolute finest. In fact the Swede is well on the way to becoming one of the most notable folk artists not just of a generation but of musical history. From the bouncy opening title track to the sombre, piano led closer “Kids On The Run”, this is truly sublime.

8. ANATHEMA – We’re Here Because We’re Here
Anathema released “A Natural Disaster” in 2003 and then took seven years to record and release the follow up. When a band takes that long over a new record there are two obvious possibilities. The first, and perhaps most likely, is that the band has lost what made them a good band and has struggled to come up with any new material. On the other hand the band could just have been taking their time in order to create a masterpiece. “We’re Here Because We’re Here” is probably not quite a masterpiece, but it comes pretty damn close. Anathema are at the top of their game with rock songs that are artistically cultured as well as frequently anthemic, with the brilliant “A Simple Mistake” being possibly the best song the band has ever written.

7. DEFTONES – Diamond Eyes
It has been a traumatic couple of years for Deftones without bassist Chi Cheng. Yet somehow 2010 has seen them deliver what is unquestionably their best release since “White Pony”. An incredible collection of metal that is both headbanging good fun, and full of artistic merit, “Diamond Eyes” is a record without filler and the likes of “Rocket Skates” and “CMND/CNTRL” are already Deftones classics. Some may have questioned whether this band was still relevant but perhaps they are more relevant than ever they were. This is a stunning reinvigoration of a band still missing a brother.

6. SWANS – My Father Will Guide Me Up A Rope To The Sky
When it was announced that Michael Gira was going to make a new Swans album the reaction from the world of experimental music was one of great excitement. The reaction from everyone else was non-existent. One of the truly great rule defying bands in the history of rock, Swans have veered from crushing noise (they were notoriously so heavy live as to cause some punters to throw up) to creepy melodies alongside frequently bizarre song structures, not to mention disturbing lyrics. While “My Father...” is one of Swans’ quieter works musically, it is full of Gira’s surrealist imagery and carries the same haunting atmosphere as the band’s previous works from a decade or so ago. This is a quite phenomenal return.

5. CRIPPLED BLACK PHOENIX – I, Vigilante
There are some bands that seem to specialise in making music more emotive and powerful than any other art form. Crippled Black Phoenix is such a band. With “I, Vigilante” they have created a record that is, from first minute to last, a statement of the power of music. Despite the broad selection of styles on display, the band are able to blend everything together into something that is simultaneously tear and smile inducing, a rare gift. Whether it’s the soaring melodies of opener “Troublemaker” or the epic guitar soloing on a fabulous cover of Journey’s “Of A Lifetime”, CBP are near perfection.

4. OCEANSIZE – Self Preserved While The Bodies Float Up
Oceansize should be one of the biggest bands in the world because they are certainly one of the best. With their fourth album the band strip things back a bit and craft songs that are restrained rather than overtly long (nothing stretches past the ten minute mark) and ‘proggy’. They also take themselves to new places, whether these places are heavier (the sludgetastic opener “Part Cardiac”) or more simplistic (the delicately sparse “Ransoms”) than where the band have previously trodden. What this record makes perfectly clear is that Oceansize are brilliant at writing songs as well as pure works of art and with this album they have made this clearer than ever before, even though it should never have been in doubt. SPWTBFU is another definitive statement of skill and intent from an act that the UK should hold up as true homegrown musical heroes.

3. DEVIL SOLD HIS SOUL – Blessed & Cursed
British metal hasn’t had too much to shout about in recent years. Bands like Devil Sold His Soul are changing all that. Their expansive post-metal sound was only partially formed on 2007’s “A Fragile Hope” but on “Blessed & Cursed” the London sextet have created a sound that is as definitive as it is heavy...and, believe me, it is pretty damn heavy. The band have clearly come a long way, especially singer Ed Gibbs, whose clean vocals are now on par with his throat shredding growls. This is one of the few metal releases of the last few years that can genuinely be considered something of a classic and DSHS are a band that deserve the acclaim that this release has given them.

2. THE XCERTS – Scatterbrain
The Xcerts are the best young band in Britain today. With “Scatterbrain” they have proved that their debut “In the Cold Wind We Smile” only hinted at the brilliance that the Aberdeen/Brighton trio could achieve. Frontman Murray Macleod has proven himself one of the best songwriters around with the likes of “Distant Memory”, “Hurt With Me” and the Brand New-esque “He Sinks. He Sleeps”. A short record dominated by clattering guitars, bass and drums; this is perhaps more Nirvana than anything else. There is no room for anything other than what is necessary and, as Macleod’s painful screams testify, what is truly meaningful. There is no filler just anthems juxtaposed with oft-disturbing imagery and an air that is more than slightly mournful in tone. The Xcerts are more than just another band with promise; they are already a great band that the UK should be proud of.

1. THE NATIONAL – High Violet
There was much discussion before this record was released as to whether The National could release another album as brilliant as 2005’s “Alligator” and 2007’s “Boxer”. The general consensus seemed to be that it was most likely that the band would produce something good but not up to the greatness of its predecessors. Such talk was nonsense. With “High Violet” The National have not merely matched previous works but surpassed them. From the opening moments of “Terrible Love” to the closing chords of “Vanderlyle Crybaby Geeks”, this is a record of absolute perfection. In Matt Berninger, The National has one of the finest and most unique lyricists and vocalists of a generation, and surrounding his tortured tales of life and love is soaring, yet confined, musical bliss. The National is not a band to allow musical experimentalism to overtake songwriting and when they produce an album of songs as good as this it is easy to see why. Not just the best album of 2010 but one of the best albums of all time.

Mashiri presents "Raw Girth"

2010-11-07T11:07:00.000-08:00

MASHIRI – Raw Girth

Blessed with the greatest band name in history, St. Albans trio Mashiri burst out of the blocks with their debut release, ‘Raw Girth’.

‘Banter’ is a fun start to Mashiri’s catalogue. Yes it is a pretty blatant rip-off of ‘Sleep Now in the Fire’ (Dan Edwin’s vocal delivery in parts is pretty much exactly the same, if lacking some of Zach De La Rocha’s trademark ferocity) but it is a good song with lyrics that tread the line between being plain silly and just having a humorous side well. The instrumental work is solid if unspectacular with the sludgy lower register adds an enjoyable raw dynamic to the mix.

‘I Never Noticed’ is a different kind of song. Its near six minute duration is entirely composed of simple instrumentation, often carried by the bassline over tranquil acoustic guitar and pleading vocals. It’s a nice song but perhaps a little out of place alongside the more rocking ‘Banter’, meaning that it is hard to tell exactly what Mashiri want to be from this debut release. Despite this however, Mashiri have produced what can certainly be considered a very enjoyable debut. Bring on the next release!

7/10

Mashiri are:
Hugo Beardsall – Drums
Joe Clapham – Bass
Dan Edwin – Vocals & Guitar
Mark Goodfellow – Guitar

Dark Tranquillity - London Camden Underworld - Tuesday 28th September 2010

2010-10-04T10:29:00.000-07:00

As one of the founders of the Gothenburg melodic death metal scene in the early nineties one would expect Dark Tranquillity to be either gone by now (like At The Gates) or producing rafts of substandard material (like In Flames). Instead they are doing neither. Dark Tranquillity are the true kings of melodeath yet have never gained as much recognition as their peers. It is hard to understand why this is the case. Yes, At The Gates produced the masterpiece that is ‘Slaughter of the Soul’ and yes, In Flames pumped out the likes of ‘Whoracle’ and ‘Clayman’, but Dark Tranquillity gave us ‘The Gallery’, a record that trumps its competitors without question. Then, over a decade later, in 2007, they gave us the classic that is ‘Fiction’ whilst In Flames gave us the occasionally embarrassing ‘A Sense of Purpose’ and At The Gates reformed for a brief summer of reunion shows. Yet the band doesn’t seem to have any problems with its lot. They still tour as much as ever and reward their dedicated fanbase with passionate performances night after night. This show at the Underworld is the only UK show of the band’s ‘Where Death Is Most Alive, Part 2’ tour and is therefore heaving with metalheads. As if the band needed any help to put on a spectacular show, they’ve brought Finnish quartet Insomnium with them as support.

Undoubtedly a band to have taken great influence from Dark Tranquillity over the years, but also one with a slightly more progressive edge to their songwriting, Insomnium take to the stage to an already packed venue. Many of the crowd are clearly big fans of the band and so it doesn’t take long for the likes of ‘Where the Last Wave Broke’ to get a singalong going. Their set reaches fever pitch with ‘Weather the Storm’ when the band announce that they are filming the song for an upcoming music video and none other than Dark Tranquillity frontman Mikael Stanne joins the band on stage. Despite the crushing riffs and epic atmosphere Insomnium aren’t quite as good live as they should be. They are good but without ever reaching the triumphant level that the whole set feels as if it is building up towards and they are therefore a little disappointing.

Dark Tranquillity are anything but disappointing. Despite opening their set with the strange choice of ‘At the Point of Ignition’, a song off their newest album that hardly offers the punch in the gut that much of their back catalogue could bring to the table, and having technical problems that result in a five minute pause early on, the band rip through a set featuring most of their classics alongside fan favourites and the best of their new material. What stands out most of all is the quality of the songs; this is a metal band with melodies that worm their way inside your head so that by the last chorus of a Dark Tranquillity song you’ve never heard before you can scream your lungs out alongside the devoted. There are plenty of the devoted in situ tonight, made obvious by the fact that even newer songs such as ‘The Fatalist’ get loud singalongs. The best crowd reactions during the main set come during the towering anthem that is ‘Lost to Apathy’ and old classic ‘Punish My Heaven’, both of which get treated like the hit singles they would undoubtedly have been if metal ruled the mainstream music charts. It would be wrong, however, to get the impression that Dark Tranquillity rely on playing show after show to hardcore fans. This is a band that is brilliant at what it does. Mikael Stanne is an excellent frontman, making each and every audience member feel involved and repeatedly clasping the hands of the swarming front rows. The rest of the band don’t put much of a foot wrong and all seem genuinely pleased to be on stage and not at all frustrated with the lot of still playing small clubs in the UK twenty years into their career. Before closing the encore with a thundering ‘Terminus (Where Death is Most Alive)’ Stanne thanks the crowd warmly and promises to return to the UK again next year; hopefully for a proper tour rather than an isolated show in the capital. Although the band promise to stay around to sign autographs and pose for pictures, security puts an end to such a possibility and so the night ends with the conclusion of the set, one that is about as superb as the melodeath legends could have possibly produced. The only real criticism that could be levelled at the band is that they arguably chose the wrong songs to play from their new record (the superb ‘Arkhangelsk’ is noticeably absent) and that one or two genuine classics (‘Therein’ being the obvious example) are also missing. When a band plays as well as this however, and when the atmosphere is as fervent as well, then it doesn’t matter one jot; a fabulous evening of metal.

Insomnium – 6/10
Dark Tranquillity – 10/10

Insomnium setlist
Equivalence
Down with the Sun
Where the Last Wave Broke
Drawn to Black
Weather the Storm (ft. Mikael Stanne)
The Harrowing Years
The Gale
Mortal Share
The Killjoy
Weighed Down With Sorrow

Dark Tranquillity setlist
At the Point of Ignition
The Fatalist
Damage Done
Lost To Apathy
Monochromatic Stains
The Gallery
One Thought
The Wonders at Your Feet
Icipher
Shadow in Our Blood
Iridium
Haven
Dream Oblivion
Misery’s Crown
Punish My Heaven
-----
Final Resistance
The Sun Fired Blanks
Terminus (Where Death is Most Alive)

The Winter Tradition - Edinburgh Sneaky Pete's - Saturday 4th September 2010

2010-09-11T03:58:00.000-07:00

Sneaky Pete’s is one of those music venues that, when you first enter, you wonder what possessed anyone to turn it into such a venue in the first place. This isn’t to say it’s a bad little place just that it is very little. People who think that anything less than a 1000 capacity counts as intimate need to see this place; which I struggle to believe can hold many more than 100.

Despite being very small the place is nearer empty than full when opening band Your Neighbour The Liar take to the stage. The quartet get through six or seven decent songs with ‘Circus’ being probably the pick of the bunch. They seem to take strongly to the school of interspersing melodic post-rock guitar picking with occasional bursts of distorted riffage. However the strength of their songwriting as yet means that whenever they choose to burst into heaviness it is not the least bit surprising. Indeed most of the material they showcase is pretty samey; it is especially noticeable that all of the first three songs they play feature the band choosing to sing away from their microphones to create the ‘distant group vocals’ effect used to better advantage in recent times by contemporaries such as The Xcerts. The band’s use of handclapping also comes across as being a little weird; there’s never a reason why a drummer should be sitting behind his kit clapping instead of actually playing. Overall not a bad performance and there is potential in the band that may well be realised in the near future.

From what I know about the band, Glasgow’s Lightguides should probably be headlining this gig. The trio’s beguilingly mathy time signatures echo the likes of This Town Needs Guns and Adebisi Shank while they still retain a certain sing-along element reminiscent of their fellow Glaswegians in Twin Atlantic; for whom they were ‘secret support’ at a huge gig at Glasgow’s ABC a while back. The lack of bass player is far from something holding them back; in fact it frees up room for impressive guitar and, especially, drum work. Aside from the obvious quality of their music Lightguides are great to watch and the fact they have a fan who has come all the way from Essex to see them play speaks volumes. Despite the fact that they seem to accidentally knock over pretty much everything they can whilst on stage (the drummer’s mic in particular doesn’t want to hold up) they still play a blinder of a set. This is a band that should be a lot bigger than they are and, judging by the reaction of the crowd during their set, they are the band with the largest share of fans present; this is made especially noticeable by the fact that the band remain on stage for longer than originally planned with a rendition of ‘Midget Gem’ following chants of “one more song” in the Edinburgh venue.

All this makes the task of recently renamed The Winter Tradition more difficult than it needs to be. Having recently changed their name from The Void, the band are promoting the release of a new single, ‘Firelight’. Despite being a local act the band attracted a meagre audience of around 12 people to an acoustic instore session the day before this gig but thankfully more people have turned up tonight. Whilst their set is packed with punchy choruses aplenty there is little that makes the band stand out in the same way as so many Scottish acts nowadays. Soundwise they are a little like a halfway point between Twin Atlantic and The Twilight Sad. The band don’t get much of a reaction when they first come on stage but by the time ‘Firelight’ and ‘Game of Ghosts’ have rounded off their set everyone seems to be enjoying themselves. Lightguides still should have headlined though.

Your Neighbour The Liar – 5/10
Lightguides – 8/10
The Winter Tradition – 6/10

People In Planes - London Upstairs @ Highbury Garage - Friday 6th August 2010

2010-08-10T05:59:00.000-07:00

People In Planes have had a somewhat topsy-turvy career to say the least. The Welsh rockers started out as Robots In The Sky but after a number of other bands decided to act like pricks and complain that PiP couldn't have this name because it was too similar to their band's name they had to change that to Tetra Splendour. Tetra Splendour signed to EMI sub-label Wishakismo and released debut 'Splendid Animation' which received plenty of attention for having "meandering jazzy nonsense" in it and generally sounding a bit like Radiohead. Nevertheless they were let back into the studio by EMI but then they suddenly got dropped by the label after management changes (it's all going a bit Hundred Reasons now isn't it?). Then the band recorded new material with new keyboard player Ian Russell and decided to change their name again (you'll have to ask them) to People In Planes. They had a music video directed by Joaquin Phoenix and basically moved to the USA for a little while as they were signed to Wind-Up records over there. They last released new material in 2008 with 'Beyond the Horizon'. Now though they're on the comeback trail with plenty of new stuff to play on a short run of UK dates, including this one in the tiny little venue above the Highbury Garage.

Before the pleasure of hearing new PiP material is a set by fellow Welshmen The Undivided. Whilst the band are far from a bad band there is little to set them apart from a great many other indie/alt bands trailing around the scene at the moment. Their set is also spoiled a little by the fact that the vocals are scarcely audible much of the time (partly due to poor sound and partly due to lots of people talking over them). A rather uninspiring half hour support slot. People In Planes however are on great form. Despite their set being composed more of new material than old, they keep the crowd attentive and interested. New material is not a great departure from their 'classics' with the possible acception of 'Fade Away' which sees frontman Gareth Jones adopting a near croon at the piano. The best received songs are, unsurprisingly, the ones from 'Beyond the Horizon' which seems to be the audience's album of choice. 'Pretty Buildings' and 'Vampire' especially are greeted like long lost friends. The band are as tight as ever in the live arena with Pete Roberts guitar dominating proceedings much of the time. The only near disruption to the set comes from a projector screen that is lowered by someone or other at the venue behind the band only to get caught on something on its way down, a journey which it never completes. By the time it is taken back up again the band are returning to the stage for an unscheduled encore of 'Fire' after the crowd refuses to leave without one, always a good sign. It would take more listens to really judge the band's new songs but if they are as good on record as on first live listen then there is really nothing to worry about.

The Undivided - 6/10

People In Planes - 8/10

People In Planes setlist

Sonisphere Festival 2010 - Knebworth Park - 30th-31st July & 1st August 2010

2010-08-05T12:06:00.000-07:00

Sonisphere 2010 arrives and it’s not a moment too soon. The weather is near perfect and Knebworth is ready for a weekend of top class rock, set to be rounded off, of course, by returning metal titans Iron Maiden. Before then however, is an elongated Sonisphere, this year starting as it does on Friday night rather than Saturday morning.

Sonisphere ’10 starts off for me with American retro progsters Bigelf (7/10) whose Sabbath heavy riffs, coexisting alongside keyboard and organ flourishes, make the newly arrived Knebworth crowd immediately feel at home in the Bohemia tent. A nice dose of fun, simple rock n’ roll to start off the weekend. Over on the Saturn stage, 80s rockers Europe (7/10) spend their set with a crowd who are, predominantly speaking, just waiting for them to play that song. This is rather harsh on the Swedes however as their set is full of solid, if not overly spectacular, hard rock anthems. ‘Rock the Night’ even features a special tribute to the recently deceased legend of Ronnie James Dio, with the band performing a few bars of ‘Heaven and Hell’ in the middle of the song. They end, predictably enough, with ‘The Final Countdown’, prompting a general feeling of good will amongst all Sonisphere goers present. Over on the Jagermeister stage industrial metal quartet October File (8/10) blast through a blistering set that is all steel coated riffs and bowel shaking bass underneath deliciously harsh vocals. Sadly they’re only onstage for 25 minutes, but it’s an impressive 25 minutes at that. Over at the Bowtime Bar are Northern Ireland’s finest in the shape of And So I Watch You From Afar (9/10). Energetic as always, and proving that vocals are not at all necessary for exciting music in any way, the quartet are helped by excellent clarity of sound but not by the fact that they have to squeeze into a mere half an hour set which is something of a travesty. Back with the Jagermeister stage, stoner duo Winnebago Deal (7/10) don’t seem to care that nobody watching them can hear the vocals as they set about pummelling their instruments into oblivion. There lack of subtlety would be a little tiring over a longer period of time I’d imagine but, for half an hour, they are more than satisfying. Annoyingly Karma To Burn have been scheduled for exactly the same time as one of my favourite bands, 65daysofstatic (10/10), so I miss out on them but am more than amply rewarded with a fine 65dos set. The band are the only ones at Sonisphere capable of rocking hard (‘Retreat! Retreat!’), raving equally hard (‘Tiger Girl’) and making hairs on the back of necks stand up (the always glorious ‘Radio Protector’). As they are only sub-headlining Bohemia, they depart after a 40 minute set but a perfect 40 minute set at that. Friday ends for me at this juncture and I leave to the strains of Alice Cooper’s set ending on the Saturn stage.

Saturday sees me make my first trip of the weekend to the Red Bull Bedroom Jam Tent, where young, up and coming bands are given a chance to shine. Stand Up Guy (9/10) may not be particularly young but, if anyone who listens to music nowadays has any sense, they’re very much up and coming. Their dense post-metal features a mix of harsh and clean vocals to great sonic effect. The only slight criticism to be made comes from the keyboard, which is apparently superfluous to the mix throughout much of their set; although that may very well be the result of less than satisfactory sound rather than their own fault. A very impressive set by them is followed by blues rockers the Tom Hollister Trio (6/10) on the Jagermeister stage. With songs often dominated by a virtuoso guitarist, they aren’t as far outside the Sonisphere blueprint as one might think but they still provide more of an opportunity to sit in the sun and relax than anything else. Security obviously doesn’t think this is the case as the trio start their set with no more than twelve stewards lined up in front of the stage. They are soon joined by another five stewards to total seventeen. To be fair, the guy in the wheelchair near the front of the stage looked like he could have been about to cause some serious trouble. Cars on Fire (9/10) rip up the Bowtime tent. Many of the medium sized crowd seem to be looking for a softer side of Sonisphere during their set but hopes of that are immediately ruined when frontman Ali Ross jumps from stage to crowd within a minute of the band coming on stage, proceeding to scream out his lyrics in the faces of various crowd members. This is just the first of many Ross trips into the crowd during their half hour set which showcases an exciting band with more than a little of Reuben at their heaviest about them. Being able to end with a double header of ‘Sharks’ and ‘Burn the Suits’ is something few bands without an album even out yet can manage. A great set by the Bristolians; all those people watching Soulfly on the main stages missed out. Anthrax (9/10) were one of the highlights of Sonisphere 2009 with their crowd pleasing set led by vocalist John Bush. It became clear soon afterward however that Bush, although only having just returned to the band after a lengthy absence, was not interested in a long term return to the ‘thrax. Thus Joey Belladonna has returned after an even lengthier absence to front the band once more. Any doubters are silenced by another assured set, even if it once again dominated by the hits. Any band that can call on ‘Caught in a Mosh’ to open things up has an immediate advantage and that, along with the likes of ‘Antisocial’ and ‘Indians’, are rapturously received by the thrash hungry crowd. The band also play an excerpt of ‘Heaven and Hell’ during their set as a dedication to Dio, with Belladonna having been a close friend of the great man. Closing with ‘I am the Law’ and a promise from Scott Ian to deliver a new album (at last) in the near future. Anthrax are once again a highlight of Sonisphere Knebworth. Fear Factory (10/10) are better than they have ever been these days. With the legal wrangling over the band’s name seemingly finally at an end and with a now apparently settled line-up featuring, most importantly, vocalist Burton C. Bell and guitarist Dino Cazeres, the industrial metal quartet are in the form of their lives. From the moment their set starts with the brilliant title track from their newest album, ‘Mechanize’, the band are on a roll and even a temporary shutdown of the guitar and bass rigs doesn’t detract from a top quality set. The band wheel out their greatest moments alongside highlights of the new record and receive rapt attention from a crowd that is a mix between those who are big fans of the band and those who have only heard about them. Although seeing them here on the Saturn stage isn’t quite the same as seeing them in the confines of the surprisingly small venues they still play when touring in the UK this is still the set of the weekend thus far. Ending with a fist pumping rendition of ‘Replica’, the band leave the stage with Bell telling the crowd, in his best Terminator voice, “We will be back”. Let’s hope it’s quite soon. Due to some ridiculous scheduling, Katatonia (8/10) are halfway through their set by the time I get to the Bohemia tent in order to see them. Who thought it was a good idea to put two of the most metal bands of the weekend on at the same time as each other? Still it’s good to catch the second half of their set including excellent renditions of ‘Forsaker’ and ‘Leaders’. It’s equally good to see this band being given a festival slot here in the UK as all too often the riches of the Scandinavian metal scene, despite being so close, are totally ignored by festival organisers. The second half of Rinoa (8/10)’s set is impressive as well. Their epic post-hardcore sound may look totally at odds with the five band members on stage but it sounds brilliant. They are a band with great things ahead of them. Audrey Horne (8/10) aren’t what you’d really expect of a Norwegian band as they are more good time hard rock than darkest metal. An enjoyable set by the band is well received by a sizeable Jagermeister fuelled crowd. Apocalyptica (5/10) are really boring live. Why they are higher on the bill than Anthrax and Fear Factory is a source of utter puzzlement for me. Surely we’re all over that ‘cello metal’ thing nowadays anyway! They aren’t bad, just dull. Saturday ends with just a part of their set for me as I’m off to see Biffy for the evening’s entertainment instead of staying at Knebworth for Rammstein!

Sunday begins with Ian Kenny telling Knebworth that Karnivool (9/10) are “your motherfucking breakfast man!” as they open the main stages for the day with their rumbling alt-prog-metal. It’s an impressive set that will surely win the band new additions to their growing legion of UK fans. It shows off both the organised chaos they can provide (‘Set Fire to the Hive’), the melodic anthems (‘All I Know’) and the slow-building epics (‘New Day’). Although opening Apollo will no doubt have been good for the band it is a shame that they weren’t able to have a longer set elsewhere as, for all their Aussie brilliance, half an hour isn’t really enough for them to show their absolute best. I still maintain that they are one of the best bands in the world at the moment, no matter what certain Damnation Festival organisers may think! Sadly having to get to Knebworth early for the ‘Vool means I have to sit through the less exciting part of Sunday’s bill. Slam Cartel (5/10) are dull and unimaginative. Sacred Betrayal (2/10) are bad enough to fall into the category of bands that should stop doing shows in case they lose the day jobs that surely must suit them far better. American indie rockers Firebug (5/10) are somewhat plodding and also have the disadvantage of a frontwoman who tells the audience “As you may have heard it’s been very hard in our country recently”. No shit, I thought the USA’s incredibly reliable OTT capitalist system was exempt from the financial crisis. “I know it’s bad over here as well but in America it’s really bad”. Yeah, I hear it’s practically the third world out there these days. Political banter is inadvisable onstage if you do not know what you are talking about. Allies (6/10) are a bit like a more relaxed Pearl Jam and start off their set well but one could be forgiven for thinking that nearly all their songs are musically exactly the same. Last year Sonisphere had Abba tribute Bjorn Again. This year it’s The Fab Beatles (3/10) whom, you may have guessed, are a Beatles tribute. Sadly they aren’t a good Beatles tribute. The accents change every time they open their mouths and they don’t even seem to be especially adept at playing the songs right; this is really quite important if you are going to have a tribute band. Not good, maybe this strangle slot can be abandoned for next year? Unless they can persuade Rolf Harris to play of course. Rise to Remain (7/10) attract a very large crowd in Bohemia for their set. Led by Austin Dickinson (yes, the son of that Dickinson) their brand of metalcore is equally heavy and melodic and, although it would be easy to cynically claim their quick rise in profile is down to the Dickinson connection, they really are a darn site better than most of the bands that clog up the genre. The end of their set is missed by some who instead head off to Apollo to see Skindred (8/10) play to by far the largest crowd they have played to yet in their career. The Welsh ragga-metal quartet arrive on stage resplendent in shiny silver suits and with frontman Benji Webbe waving a gigantic Union Jack. Whilst they are an excellent live act, and surprisingly good on such a huge stage, the problem with Skindred is the same as always. The songs, whilst fun, simply are not good enough to realistically claim the band are as amazing as some often say they are. It’s still a great set though and ‘Nobody’ is becoming the ultimate Sonisphere anthem. After the Ordeal (6/10) seem to be one of a number of unspectacular metalcore acts populating the Red Bull tent. Their set is alright, and better than plenty of other similar bands, but the vocalist is clearly struggling to hit the high notes (by his own admission) and there is little to suggest that they are anything particularly special. Slayer (9/10) are Slayer. Therefore seeing them is pretty thrashing awesome. Although Tom Araya is unusually static, as a result of his recent neck problems, their set is full of the high speed, high octane metal that made them famous and none of the dodgy slush they produced in their dodgy period. Drummer Dave Lombardo is a joy to watch whilst the duo of Jeff Hanneman and Kerry King shred away like there is no tomorrow in front of their huge wall of amps. The only problem is that the band only have 45 minutes to play. This if Slayer FFS! They should be playing for at least an hour and anything less is something of a travesty at a supposed metal festival. Perhaps it was fate that gave Slayer such a short set however as it enables me to amble across to the Bowtime tent and witness Kvelertak (10/10). These Norwegians don’t really need to be classified, they are Kvelertak and that is all you need to know. If you are desperate to gain an impression of their sound then think hardcore with black metal vocals and occasional bouts of jazz drumming. The band spend their set careering around the stage at 200mph yet rarely bump into one another and never miss the opportunity to scream the lyrics (refreshingly in their native language) in the direction of the audience. They make Slayer sound like Snow Patrol and they are, without a doubt, the best band of the weekend. You NEED to hear and see this band. After them Alice in Chains (8/10) sound, understandably, a little uninteresting. Perhaps it is the fact that last year they were on a smaller stage and had a much smaller crowd but their Sonisphere 2010 just isn’t as good as their one of the previous year. The energy levels are certainly lower and there isn’t the same special atmosphere. Therefore, after the opening 20 minutes of their set I head across to the Red Bull tent to catch a set by Welwyn hardcore ‘legends’ Heights (7/10). They play to a fairly small crowd but put their all into it. Whilst I still think their debut EP is the best debut release I’ve heard by a band for many, many years I also think their live show needs to become a little more exciting. The nerves are a little obvious and, for what is practically a homecoming show, there is a slightly worrying seeming desire to get through the set as quickly as possible and get off as stage as quickly as possible. Vocalist Thom Debaere spends most of the set running backwards and forwards along the stage and, while the performance levels are admirable, there isn’t much energy apparent on stage. They will be a great live act in years to come I’m sure but they aren’t quite there yet. Converge (8/10) are much more like the finished article. Their frenetic technical hardcore isn’t everything live I hoped that it would be but it is still enough to make your neck feel like it’s about to fall off after a time. Perhaps the best thing about their set is the sudden rush to crowd surf that they provoke, contributing to the petrified faces of the stewards at the front of the stage. Much of the crowd are also petrified as many are only at the front to wait for Bohemia headliners Funeral for a Friend. Nobody told them they’d have to see one of the most panic attack inducing bands on the planet first! Over on the Jagermeister stage Irish hard rockers Sweet Savage (3/10) arrive to the general indifference of a medium sized crowd. They are at least as old as Maiden but with not as much songwriting talent. Their opener nearly sends me to sleep despite being less than four minutes long. To be honest, if a band has reached their age without getting further than an early evening slot on the smallest outdoor stage at a festival then perhaps it is time to give up. They really aren’t that good, after all. Fightstar (6/10) clearly want to be Muse, judging by the overdramatic tape that goes over the PA before they come on. When they finally do arrive on stage it seems that they forgot to sound check properly as Charlie Simpson’s vocals aren’t exactly clear in the mix. Although I’ve heard the band are good live they are a bit underwhelming in the flesh. The Xcerts (9/10) are never underwhelming. They are not only three guys who are clearly playing the music they love but they are infectiously unassuming, making it extremely difficult not to like them. They need not have worried about their reception in the Bowtime tent. Mass singalongs during ‘Crisis in the Slow Lane’ and ‘Home Versus Home’ prove they have plenty of fans present and frontman Murray Macleod even gets a high five from a guy in a Slayer tee in the front row, to his visible delight. Hopefully new album ‘Scatterbrain’ in October will earn them the chance to play in front of bigger crowds on bigger stages at festivals. Not too big though, because it’s great to turn up three minutes before they come on and walk straight to the front of the stage. The Xcerts aren’t destined to produce great things; they’re producing great things already. Slaves to Gravity (7/10) are finally on the verge of releasing a new album and headline the Jagermeister stage for the day. Although a good band listening to them still makes one think about how good they could be but aren’t, quite. Bohemia headliners Funeral for a Friend (8/10) are playing their final show with guitarist Darran Smith (see a couple of weeks back on my blog for a review of their last headlining show with him). Thus a crowd pleasing set is called for and delivered with ‘Roses for the dead’, ‘Juneau’ and ‘Into Oblivion (Reunion)’ following one another in close pursuit. I leave halfway through their set though in order to grab a good place for Maiden. This enables a short portion of Iggy and the Stooges (7/10)’s set to be visible. The guy has still got something, what it is however is still unclear after all these years. The crowd down the front seem to be having a pretty good time as does Iggy himself. Many have been waiting all weekend for Iron Maiden (10/10) to play their only UK show of 2010. With new album ‘The Final Frontier’ to promote the band choose to play a set that mainly focuses on material from the last decade with choice cuts from ‘Brave New World’ being particularly impressive. Although some in the crowd may not be familiar with such material they are fools if they don’t appreciate the majesty of the six musicians on stage. Drummer Nicko McBrain is still one of the best in the game and the duelling guitars of Dave Murray, Adrian Smith and Janick Gers are solotastic while Steve Harris’ bass still gallops along and holds the whole thing together. Bruce has still got a pretty good voice as well, now one thinks about it! In short Maiden are as good live today as ever, despite their ever advancing years. They are a band that fully deserves the legendary status they have been given and the lack of classics doesn’t detract from the top quality of their set. If anything it just makes the encore of ‘The Number of the Beast’, ‘Hallowed be thy Name’ and ‘Running Free’ all the more impressive and enjoyable. Maiden are a pleasure to behold and there aren’t many better bands to headline a festival. Hopefully Bruce wasn’t joking when he said they may have to come and play Sonisphere again sometime! A brilliant end to a brilliant weekend at Knebworth.

We Made God - New Songs - Please Listen

2010-07-28T04:18:00.000-07:00

We Made God are an Icelandic post-rock band. Their new album is in the pipeline, coming soon. Here's a sneak preview. They're a great band so please support them in any way if you can, whether it's by buying their records or just listening to their new stuff. Enjoy.

Funeral For A Friend - London Shepherds Bush Empire - Friday 23rd July 2010

2010-07-25T05:08:00.000-07:00

Funeral For A Friend are one of those bands that remain eternally misunderstood by so many people. Lumped in by many with the unimaginative 'emo' scene alongside the likes of My Chemical Romance but really one of the standouts of the post-hardcore scene that gripped the UK in the early 21st century. Their early EPs and debut album 'Casually Dressed & Deep In Conversation' provide some of the best the genre has to offer, combining aggressive vocals and riffs with an ear for tuneful melody and the ability to write awesomely catchy songs. Now, seven years after the release of said debut record, the band play two special shows with the album being played in its entirety. This is to celebrate the contribution of guitarist Darran Smith to the band. These are his last headlining shows with the band before permanently departing after Sonisphere Festival next weekend. For fans these shows (the other of which was held at Cardiff University) provide not only an opportunity to bid farewell to a member of the band but also an opportunity (especially for those who weren't around the first time) to hear a great album in full.

Before FFAF take to the stage there is the pleasure of a support slot by The Automatic who, since replacing annoying shouty keyboard guy with Paul Mullen (yes, the guy from YCI:M), have actually become a pretty decent band. Sadly I only see half of their set after having a horrific journey to the venue to contend with but what I do see (including the monster choruses of 'Steve McQueen') persuades me that it's time to forgive them for their first record and give them another chance. Sadly The Blackout are extra special guests for this show. How they manage to be as shit as they actually are is beyond me but I guess they must be trying extra hard. I especially like how they have two vocalists to double the annoyance factor. They appear to be trying to be a post-hardcore band but their riffs are so watered down that they sound more like farts that are trying to be casually disguised and the vocals are abysmal. They manage to be a little catchy...but in an annoying Justin Bieber way not a good Take That way. Appropriately they come from Merthyr Tydfil which, I can honestly testify, is one of the biggest shitholes in the UK (even by the admission of people who live there). After their immensely crap set (which is well received by the Kerrang! devotees in the audience) it's finally time for the reason everyone is here.

Funeral For A Friend take to the stage at 9.30pm on the dot and kick straight into 'Rookie of the Year' (no prizes for guessing that), immediately prompting the start of a huge pit in the middle of the crowd. It's humbling to be at a gig where almost everyone sings along to almost every word of every song from an album and as the likes of 'Juneau' and 'Escape Artists Never Die' see the show progress the voices get progressively hoarser without ever dying out. Smith is reluctant to take any more of the spotlight than usual (i.e. not very much) but in between song chants of "Darren, Darren, Darren" and a barrage of horns in his direction prove how well appreciated he is by the band's fanbase. A particular highlight arrives in the form of the gentle 'Your Revolution Is A Joke' which sees just singer Matt Davies-Kreye and guitarist Kris Coombes-Roberts remain on stage. It's a spine-tingling moment for a song that most never expected to see live. By the time the band leave the stage with 'Novella' they have the crowd in the palm of their hand. Kicking off the non CD&DIC material with 'Into Oblivion (Reunion)' the band proceed to play their way through several highlights of their back catalogue from the finger tapping riffage of 'Roses For The Dead' through the rare b-side 'You Want Romance?' and golden oldie 'The Art of American Football' (which is spoilt by the fact that the band are joined by The Blackout's Sean Smith for the song). Sadly things run out of steam a little towards the end. 'Wrench' noticeably isn't known by a sizeable amount of the crowd (even less than the obscure b-side where I am). The intensity of the first set is never matched and, wonderful song though it is, 'History' isn't really the greatest of set closers. Still, the sight of the show ending with friends, crew and family onstage pushing Darran Smith to the centre of the stage to receive the blessing of the crowd is special and the first half of the show definitely was as well. Overall a top quality evening's entertainment and the best FFAF show I've been to yet.

The Automatic - 7/10
The Blackout - 0/10
Funeral For A Friend - 9/10

Funeral For A Friend Setlist
Rookie Of The Year
Bullet Theory
Juneau
Bend Your Arms To Look Like Wings
Escape Artists Never Die
Storytelling
Moments Forever Faded
She Drove Me To Daytime Television
Red Is The New Black
Your Revolution Is A Joke
Waking Up
Novella

Into Oblivion (Reunion)
The Art Of American Football
Roses For The Dead
Wrench
Streetcar
You Want Romance?
History

2000 Trees Festival - Cheltenham Upcote Farm - Friday 16th & Saturday 17th July 2010

2010-07-22T12:53:00.000-07:00

I’m under no illusion of the fact that many of you reading this blog won’t have the first idea about 2000 Trees Festival. Where it is? What it is? Who are those bands on the line-up? That sort of thing. Well firstly, 2000 Trees is located on the wonderful Upcote Farm in Cheltenham and is a music festival catering to around 2,500 people each year. Those bands on the line-up are a varying concoction of rock, folk, indie, instrumental goodness, etc, etc and many of them are absolutely awesome. Right, now let’s crack on with the music reviewing.

Having spent ages queuing and longer putting the tent up than first anticipated (let’s be honest Matt, it was never gonna fit in between those other two tents), the first band I have the undoubted pleasure of witnessing at 2000 Trees 2010 is Tubelord (7/10). Being a band I have already seen and enjoyed numerous times my expectations are high but, for whatever reason, their spiky math rock doesn’t seem to light up in the same way as it usually does. It’s still pretty good stuff though and the crowd gets going into its first moshpit of the weekend during the always fun ‘Night of the Pencils’. Coming up next on the main stage are Northern Ireland’s finest in the shape of instrumental post-rockers And So I Watch You From Afar (9/10). This is a band that has just come off a support tour with supergroup Them Crooked Vultures...and I bet they rocked much harder every single night. The pure energy on stage during an ASIWYFA performance is always extraordinary and they’re on top form here. They’re also seriously loud...and that’s a seriously good thing. The Xcerts (8/10) are a band that is definitely going places. Having a bunch of seriously catchy tunes is well and good but the ability to meld them with proper rock bits and wonderfully delicate quite moments is what will make them a much bigger band in years to come. Although this set lacks the superb ‘Aberdeen 1987’ (“it’s too slow for a festival” frontman Murray Macleod says), the songs on display win over any doubters in the crowd with new single ‘Slackerpop’ especially standing out. Their set does seem a bit short however. If you haven’t seen Pulled Apart By Horses (10/10) live yet then you need to get to it. This band is enjoyable on record but live they’re a totally different prospect. Don’t expect bouts of melodic clean singing, Tom Hudson’s just gonna scream at you all the way through and don’t expect James Brown to complete a back flip either; to be fair, he makes a very worthy attempt considering he’s supposed to be playing guitar at the same time. Marking the most riotous crowd participation of the weekend, PABH’s set is the highlight of Friday’s action. Future Of The Left (9/10) run them close however despite numerous technical difficulties. The keyboard totally dies on Falco and co, whilst the frontman himself breaks the strings on two guitars. Good news includes the seamless transition that has seen Steven Hodson (of Oceansize and Kong) pick up the bass player position vacated by Kelson Mathias. Whether it is to be permanent or not remains to be seen but he certainly fits in perfectly, readily committing to the onstage banter that FOTL are known for. More good news comes in the shape of new songs, which are really good, especially closer ‘Dry Hate’. After the rocking action earlier in the day Errors (6/10) are a little bit of a buzz kill. They aren’t bad by any stretch of the imagination, they just sound out of place after FOTL on the bill. Their post-electro is enjoyable but a little dull in the live festival setting unless you’re really into it. Goldheart Assembly (7/10) in the Leaf Lounge are also pretty enjoyable and their 60s pop is far more refreshing than their bassists’ flowery shirt. An excellent cover of Tom Wait’s ‘Clap Hands’ is the highlight of their set. Frank Turner (9/10) headlining a festival doesn’t sound right...but it feels right. 2000 Trees is his self-confessed favourite festival and, after dropping out last year, he seems delighted to be back for a set that includes all the hits alongside b-sides like the superb ‘Nashville Tennessee’. The crowd scream along to what seems like every word and a special highlight for one Kyle Gill is provided when Frank gets him up onstage to play harmonica on ‘Dan’s Song’ to celebrate his birthday. Frank has turned into a great performer and yet he still retains the bond with his fans that made him so special in the first place. An encore of ‘The Outdoor Type’ and ‘The Ballad Of Me And My Friends’ sees him sign off his first festival headline slot in fine style. The only reason why Frank’s set isn’t perfect is the simple fact that his songs, great as they sound with 2,000 people singing along, aren’t made for such a large audience but for pub crowds and total intimacy. It’s hard to begrudge Frank his success though; if any folk punk troubadour deserves it...it’s him!

After a long morning (why did I have to wake up at 7.30am?), which includes a top quality nature walk (7/10), Saturday’s action is kicked off by alternative metal quartet Left Side Brain (7/10), who make sure the crowd are awake with their bruising off-kilter Therapy?-esque riffs. Noticeably however they seem a little uncomfortable on such a large stage in front of a larger crowd. Furthermore the vocals occasionally get lost in the mix but they still have some great songs and get the rock off to a good start for the day. Following them are the indie popsters Skeletons And The Empty Pockets (6/10) who are very energetic, especially the frontman who’s a great showman, but they just aren’t really my thing. Still, they’re not a bad band by any stretch. Neither are Flashguns (6/10), who would be a damn site better if they weren’t such cocky bastards considering their material. Their frontman ruins their last song, which is by far the best they play, by playing his guitar solo whilst strutting around like Matt Bellamy at his most “oh look at me I’m in a stadium band now and am going out with someone more famous than me”. Most of their songs are quite generic but they are a band with promise. I expect the NME will catch onto them soon and ensure they turn out quite badly after all. Three Trapped Tigers (8/10) take a while to get on stage after a light hits Matt Calvert in the head just before they are scheduled to go on. This is one hell of a band when it comes down to it. The drumming especially from Adam Betts is right out of the top draw. Their set provides plenty of complex electronic enfused post-rock for the crowd to get their paws into, no doubt especially appealing to 65dos fans. Meanwhile over at the Greenhouse The Oxygen Thief (8/10) is busy getting his crowd to ROCK (\m/) with his acoustic lullabies. A highlight is provided with a cover of Spandau Ballet’s ‘Gold’ which he somehow manages to turn into an acoustic metal sing-along. Epic, I just wish I’d seen the whole set (Matt Calvert’s fault). Unfortunately I see the end of Sonic Boom Six (3/10). They’re a bizarre blend of reggae and ska punk which, whilst imaginative at least, makes them sound like Sonic Boom Shit to me. I and Matt have been waiting for Twin Atlantic (10/10) to hit the stage all weekend. One of the best live bands I’ve ever seen and they don’t disappoint. Their songs may not be perfect but they are so often so catchy and the time signatures are joyous as well. Despite sound that’s far from top-notch and the fact that frontman Sam McTrusty makes a few mistakes while guitarist Barry McKenna breaks a couple of strings; they are an infectious band when they take the stage. Sam interacts well with the crowd as well, especially a cuddly turtle called Lucinda and Dave? the guy in the chicken suit who joins the band onstage for a final run through ‘Audience & Audio’. Whilst drummer Craig and bassist Ross leave the stage relatively quietly, the two guitarists set about getting some feedback out of their guitars whilst Sam chucks his Tele into the crowd; this causes much difficulty for tour manager Andy – who has to get it back. After a break from the action, it’s time for 65daysofstatic (10/10), who arrive 20 minutes behind schedule and therefore play just a brief 40 minute set. The crush that follows the opening scream of “THIS NEGATIVE ENERGY MAKES ME STRONGER. WE WILL NOT RETREAT, THIS BAND IS UNSTOPPABLE!” is far bigger than I, for one, was expecting but it’s awesome. Their more recent material doesn’t dim the energy at all with the danceable electronica of ‘Crash Tactics’ and ‘WEAK4’ seeing flailing bodies down the front. ‘Radio Protector’ maintains its status as probably the most epic song of all time and after a mammoth effort for such a short amount of time, the band leave the crowd chanting for more; thus shocking several Bombay Bicycle Club fans who arrive soon after. Directly after 65dos are Vessels (9/10) in the Leaf Lounge. Something of a halfway house between ASIWYFA’s near punk like energy and Three Trapped Tigers’ more measured approach, the band show their ear for epic melody alongside that for cultivating massive moshable riffs. They also deserve credit for managing to fit all their equipment on the tiny stage! Acoustic trio Orphans And Vandals (5/10) kick off their set with a song that seems to be mostly about tearing someone a new asshole. Then they progress, subject matter wise, to talking about a cottage by the sea with their mother. It’s not bad I suppose, it’s just really fucking weird lyrically. The Subways (5/10) are probably awesome if you love their music and are down the front. For anyone else though they just sound like what they are, a band that shouldn’t be headlining a festival, even one this size, because all their songs are pretty much exactly the same. Only closing song ‘Rock And Roll Queen’ is truly memorable to the casual bystander. Thankfully Leaf Lounge headliners Kill It Kid (7/10) are more interesting. Their singer’s voice is perfectly bluesy and looks totally out of place coming out of his mouth. Their indie folk stylings aren’t unique but are quite lovely.

So, overall, 2000 Trees provided a weekend full of great bands. It has a great atmosphere and it costs only £50. Basically, you should go next year...yes, you!
(9/10)

Circa Survive - Camden Underworld - Wednesday 14th July 2010

2010-07-15T04:53:00.000-07:00

The Underworld is a sweaty place at the best of times. This is probably down to a combination of it being a very small space underground in which around 500 people (I still fail to understand how this place can supposedly fit that many people in) get their rocks off accompanied by one of the least effective air conditioning units known to man. Tonight sees the Underworld attempt to reach new levels of sweatiness however. This is partly because Circa Survive's fanbase is one of the most dedicated on the circuit and partly because the tube is horrendously warm as well at the moment, meaning that everyone is already sweating by the time they arrive.

Halos take to the stage a little after 8pm to the general indifference of the majority of the Anthony Green hungry crowd. They immediately get down to playing an impressive opening set however. The quintet have a little of both tonight's headliners and the more visceral moment of Sunny Day Real Estate about them as they plough through indie songs that burst into jarring heaviness at extremely satisfying moments. There's more than a little post-rock about them too as they progress through the twists and turns of their songs. Certainly a band to watch out for in the future, especially considering they haven't even recorded their debut full-length yet.

The reaction to Circa Survive taking to the stage is much less muted than for their support act. The band are greeted like the major league rock stars they could very well turn into in the future. Launching straight into new album track "Get Out" there is a surge forward towards the stage which Green immediately owns. Despite having a voice is marmitey to the extent that you will either love it or loathe it there is no doubting that he is a brilliant frontman. Whether crazy dancing around the tiny stage as if in the middle of a bizarre trip or manically high fiving the front row Green is hard to take your eyes off during the duration of a Circa Survive show. The set progresses with the biggest reactions coming for older material (especially "Act Appalled" which is only played after repeated requests by audience members). There is a sizeable chunk of new material but it doesn't dominate the set (a shame for me as new album 'Blue Sky Noise' is by far their finest work to date). New songs are still given the same riotous singalong treatment as the older tracks however, causing Green to tell the audience "Yeah, we have a new record out in a couple of weeks...but I guess you lot already downloaded it for free". The shame in the lack of new material may be restricted to those, such as me, who are less favourably disposed towards the band's older material. For the minor problems with Circa Survive's set arise not from any performance issued but from the quality of material on air. Songs like "The Great Golden Baby" may be popular with the die-hards but are simply not as good as more recent efforts. This is emphasised by the fact that the band chooses to conclude their set with a superb "Imaginary Enemy", a song from the new record. The five members leave the stage looking like they've had a great time and the audience leaves with smiles on their faces and the knowledge that the band will return to London to play an even larger show at the Scala in September. Whatever gripes I may have about some of their older material there's no question that Circa put on a good live show and this was a fine evening of American experimental rock.

Halos - 7/10
Circa Survive - 8/10

The National - London Camden Roundhouse - Saturday 10th July 2010

2010-07-11T08:47:00.000-07:00

The iTunes festival is something of a mixed blessing to music in the UK. On the one hand it provides free gigs to go to (if you're lucky enough to win tickets, or have them offered to you on last.fm). It also does a great job of promoting bands that have yet to fully penetrate the mainstream music consciousness of the country. On the other hand however it is exclusively based in London, somewhat lending credence to the idea that UK bands have to be in London to get any attention. Furthermore the fact that tickets can be won through competition does lead to the potential of gigs being filled with people who are just pleased to have won tickets to a gig and may not really care who they're going to see.

This isn't a review of the concept of the iTunes festival however. It's a review of one band that it is fantastic to see being given the recognition of being on the lineup. Brooklyn's The National were of little concern to anyone other than the indie/art rock underground before new album 'High Violet' was catapulted to 3rd place in the US Top 200 and 5th in the UK Top 100. The success was overdue and came as a result of the slow-burning weaving of predecessors 'Alligator' and 'Boxer' into the ears of music lovers worldwide. Whilst those two albums were excellent there is no doubting that 'High Violet' trumps them both, being both a masterpiece of atmosphere and of dextrous songwriting. It's also a rather addictive record; having had it just over a week it has yet to leave my stereo. Indeed the new album has provided pretty much the first listen I've had to the band for over a year but that's the beauty of many of their songs. They are so fresh that even if you don't hear them for years they come pouring back into your consciousness as soon as they grace your ears again.

Before The National take to the stage however there is support from indie folk collective Stornoway. Their songs are pleasant listening but perhaps a little repetitive on first listening. Very much a pop band disguising their capacity for writing pure tunes with folk instrumentation, they seem to please much of the crowd gathered inside the Roundhouse early enough to see them, getting a few to dance to their cheerful ditties. Entertaining but only a warm-up for the main act. The National are preceded by an extremely informative (sarcasm alert) iTunes presentation presenting the audience with footage of many of the acts to have played the festival back in 2008 or 2009. What exactly we have done to deserve having footage of Mika and The Saturdays is unclear. This brief pain is soon forgotten when The National stride onstage however. Augmented into an 8 piece lineup for live shows the band kick off with the fine double header of "Start A War" and "Mistaken For Strangers". It certainly takes the band less time to warm up than it does the crowd. The intensity is notched up by the time the first big crowd reaction comes along, for recent single "Bloodbuzz Ohio". Frontman Matt Berninger spits out the words in his distinctive baritone whilst Bryce Dessner switches effortlessly between guitar, bass and piano. As the show wears on more and more of the crowd become aware that they're witnessing something very special, even those who clearly know very little or none at all of The National's material. Soon Berninger decides that the stage isn't quite big enough for him and so he proceeds to wander through the crowd (dilligent cameraman doing very well to follow him all the way). By the time the band emerge again after a brief break for the encore they've performed pretty much perfect renditions of many of their finest songs. They are the sort of band that it really takes seeing in the flesh to fully appreciate. Songs like "Runaway" and closer "Terrible Love" come to life even more thrillingly on stage than on record. Berninger fails to resist the temptation to wander through the crowd a second time during "Mr. November" and the crowd themselves fail to resist The National's near perfection. An truly incredible band.

Stornoway - 6/10
The National - 10/10

The National setlist
Start A War
Mistaken For Strangers
Anyone's Ghost
Bloodbuzz Ohio
Brainy
Slow Show
Squalor Victoria
Afraid Of Everyone
Available
Little Faith
Conversation 16
Apartment Story
Geese Of Beverley Road
Abel
Daughters Of The Soho Riots
England
Fake Empire
------
Runaway
Vanderlyle Crybaby Geeks
Mr. November
Terrible Love

Sucioperro - Kilburn The Good Ship - Thursday 17th June 2010

2010-06-21T10:24:00.000-07:00

Sucioperro are a band that should be playing at least 500+ venues by now. In fact, that they are not is a travesty showing the true lack of interest most of the public has in the British music scene and seems to prove, sadly, that major label marketing is the only way to really get anywhere if you are an upcoming British act. For those who haven't heard them, Sucioperro are easily comparable (perhaps somewhat unfairly) to their mates Biffy Clyro (who have, with major label backing, abseiled to the arena level). Led by JP 'Dragon' Reid, Sucio deftly combine complex time signatures with sing along choruses all sung in Reid's noticeably Scottish accent. Somewhat heavier than Biffy, often verging into metal territory, and featuring guitar work that is undeniably impressive, Sucio are first and foremost a band that writes songs...and damn good ones. With Fergus 'Goose' Munro and Stewart 'Spider' Chown providing the sort of ballast that someone should've thought of equipping the Titanic with, Sucio are a dense sounding band that write anthems that should be filtering their way into the nation's living rooms. Instead they have to make do with the cosy confines of Kilburn's The Good Ship. A venue that holds around 225 people, at a push I'd imagine - that is if the punters actually want to be able to see the band and not just drink a pint at the bar, this is what truly counts as 'intimate' territory.

The first band backing Sucioperro up tonight are Buick McKane. A Northampton based 3/4 piece (I could only see 3 of them but then I was half watching the France v Mexico game and couldn't see the whole stage), they are similar in sound to the likes of The Xcerts with wholesome anthems that also pack a firm punch. A promising band for sure. Kill Goliath are a little less impressive. Whilst the musical dynamics are fairly interesting, they tend to become a little samey and the vocals aren't particularly endearing. I Am Austin meanwhile are absolutely awe inspiring. Partly because drummer David Mitchell (dressed in a colourful vest, swimming shorts and a hat) batters the fuck out of his kit like a man possessed and partly because they are, thanks to Adam Hughes' beguiling bass parts, undeniably funky. Yet I mean funky in a way that sounds like the world ending in a massive swell of screaming and feedback. To describe than as a mere 'drum n bass' duo would be sacrelige, they are so much more. Go and see them if you get a chance.

As you may have gathered from my praise of them in the first paragraph, i also think that you should also go and see Sucioperro. This is the first chance I've had to see them live (it's their fault, 4 years of choosing bad dates for London gigs) and it's well worth the wait. Sucio are three blokes who clearly love playing their music, Dragon with an especially wide grin throughout their hour long set. They are extremely tight live, and they are a visual act too, watching them is entertaining despite them having nothing in the way of projections to back up their performance. Having opened up with the classic 'Grace And Out Of Me' and run through a set including "possibly the final ever peformances" of 'Random Acts Of Intimacy' and 'Found You Makin' the band don't hold anything back even as their set draws to a close. Indeed, if anything, they work themselves into even more of a sweat as they close with a rousing rendition of 'The Final Confessions Of Mabel Stark'. This all comes via the loveliness of 'The Lonesome Tree' and some kind Jager sharing from Dragon during 'I Have Reached My Life'. At the conclusion of the gig the signs of a great live act are all there (especially fans who have sung along to every word and are now hoarse and sweaty). As they come off the stage, still resplendent in their matching black Pain Agency uniforms, they look like they've had a great time and (even if they are putting this on and secretly hate rock music) everyone in the crowd certainly has.

P.S. Stewart and Fergus seem like great guys off the stage as well, will have to catch the Dragon next time!

Buick McKane - 7/10

Kill Goliath - 6/10

I Am Austin - 8/10

Sucioperro - 10/10

Sucioperro setlist

Feeder - "Call Out" Video Premiere

2010-06-10T08:34:00.000-07:00

Okay, it's not exactly Feeder's greatest moment but I'm not gonna turn down the opportunity to premiere the new video on my blog am I? (no).

So here it is, "Call Out" by Feeder. Holly Walsh said it sounded like a song to please people who were shit at Guitar Hero in the beginners' level.

The Haunted - Hatfield Attic - Tuesday 1st June 2010

2010-06-07T09:43:00.000-07:00

The Haunted are on tour with Slayer at the moment. However, being the hard working metal musicians that they are this doesn't stop them from playing headline shows on the nights off they are getting from Slayer duty on their jaunt around the UK. Tonight sees the band play at the Attic in Hatfield, a small bar that's part of the Hertfordshire University complex. The venue only holds around 250 people at the best of times but only somewhere in the region of 40-50 bother to turn up for this gig. This highlights a few things. Firstly that there is a distinct lack of a metal scene in Hertfordshire, as illustrated by the fact that there is no support act. Secondly, people don't seem to know where Hatfield is; I find it hard to believe that there are this few dedicated Haunted fans in London prepared to make the half hour train journey to get to this show. Thirdly, The Haunted are professionals. It would be so easy for them to turn up, see the minute crowd and think "fuck it, let's just take it easy and get some rehearsal time for the Slayer shows in London". This is precisely the opposite of what happens. From the moment the Swedish thrashters burst onto the stage they rip into one burst of barely contained musical fury after the next. Peter Dolving screams as if his life depends on it and the Bjorler brothers rip away at their guitars. This is one tight live act and also one with a good sense of humour. Dolving welcomes the audience to "the Hatfield metal lounge" (referencing the fact that the venue looks more like an up-market cocktail joint than a metal club) and comments good naturedly on the size of the crowd, getting rather amused when me and two others are the only ones to respond to "How many of you guys are actually from Hatfield?" with an answer in the affirmative! Indeed Dolving can't half talk! This is a good thing though, his observations on UK bars having carpets are particularly interesting. The relaxed atmosphere of the show allows for the crowd to get up close to the band, even enabling someone as crap at photography as me to take a few decent snaps. The likes of "99" and "No Compromise" get heads banging although there is nothing close to a moshpit simply because there aren't enough people! Having ripped through around two thirds of the set Dolving takes advantage of a break to ask "Anyone here know how to play any Haunted songs?" This sees one lucky guy strap on Patrik Jensen's guitar whilst Harley Anderson (of London metallers Internal Conflict) replaces Dolving on vocals for a run through of "Hollow Ground". The band then proceed to romp their way through a few more songs before ending with a climatic "Bury Your Dead", complete with us fans allowed up on to the stage. I may not be the biggest of Haunted fans but I know a top live show when I see one and this, despite the disadvantages, is right out of the top draw. They're top guys as well!

The Haunted - 9/10

The Haunted setlist:
Moronic Colossus
99
The Drowning
Trespass
Undead
The Premonition
The Flood
The Medication
All Against All
Prevation Of Faith Inc.
Shadow World
Guilt Trip
No Compromise
Trenches
D.O.A.
Hollow Ground
Ceremony
Iron Mask
Dark Intentions
Bury Your Dead

Sunny Day Real Estate - Kentish Town Forum - Monday 31st May 2010

2010-06-02T04:41:00.000-07:00

It's hard to believe this show is finally taking place. When Sunny Day Real Estate reformed last year it seemed to much to hope that they would finally play in the UK, having split up on the eve of their first European tour in 2001. Then, having announced this show for the 22nd April, it was put back as a result of the Icelandic volcano fiasco. It was almost as if there was someone up there trying to stop SDRE ever getting on to UK shores.

Everyone in the forum for the show is visibly tense. How can a show that has been waited for this long live up to to the expectation? I suppose it helps if you can get arena botherers Biffy Clyro to casually stroll in as an acoustic support act. Having long proclaimed SDRE as one of their favourite ever bands it's clear that even being present at this gig is a treat for Simon, James and Ben. They only stay on stage for half an hour, playing a casual set of all their recent hits such as 'The Captain', 'Many of Horror' and 'Mountains' alongside old classics in the form of 'Breathe Her' and 'Scary Mary'. The fact that they are playing acoustically is something of a godsend as a no holds barred all electric Biffy set, even only a half an hour one, would have stolen a fair amount of SDRE's thunder. Tonight however they are restrained enough to provide just a short warm up with enough time to show their appreciation for the headliners.

When Sunny Day Real Estate finally do get on stage the tension in the room disappears. This is a band that sounds like they've only been around a few years, not one that has reformed to try and relive its early nineties heyday. Jeremy Enigk is occasionally drowned out by the rest of the band but it doesn't matter as the crowd is on hand to scream along vociferously to every word of 'In Circles' and 'Seven'. The set is mostly culled from the band's first two records with only 'Gutars And Video Games' and 'The Ocean' being called on to represent the latter albums. This is one of those rare gigs when each and every song is a highlight of the show. 'Sometimes' makes a heart wrenching closer and after it, all of a sudden, it's all over. Barely an hour after arrival, the band exit. The crowd chants for them to return for a good five minutes but it's all in vain. Perhaps they don't want to give the crowd too much of a good thing but it's undeniably disappointing that after all the time the UK has waited for a SDRE show they only grace the Forum with their presence for an hour. Whilst they are on stage, they are perfect. It's just a shame it was all over so quickly.

Biffy Clyro - 8/10
Sunny Day Real Estate - 9/10

Biffy Clyro setlist (all acoustic)
Saturday Superhouse
Little Soldiers
God & Satan
The Captain
Breathe Her
Many of Horror
Scary Mary
Mountains

Sunny Day Real Estate setlist
Friday
In Circles
Seven
Theo B
48
Guitars And Video Games
Grendel
Song About An Angel
J'nuh
-----
The Ocean
Sometimes

An Evening With Anathema - Islington Academy - Friday 21st May 2010

2010-05-23T03:40:00.001-07:00

Few bands have ever made as big a gear switch as Anathema did after second album 'The Silent Enigma'. To go from predominantly death/doom metal to prog-esque alternative rock was something of a left turn at the traffic lights, not least for their fans. At least the band's records have always had one thing in commmon however...they've all been really depressing. Well, the new one isn't. It may have taken seven years but it appears that during that time Anathema have cheered the funk up. Most of the people inside the Islington Academy to see this special 'Evening With' show seem to be aware of that already. Indeed, when frontman Vincent Cavanagh asks the crowd "How many of you have pirated our new album? Honestly we don't mind" around half of those present put their hand up. Assuming that plenty of people were too embarassed to own up means that the majority have already heard 'We're Here Because We're Here', for that is the title of the new record. It's pretty good...but that's for another day.

Certainly Anathema don't let a set featuring copious amounts of new material bog them down. The first four songs from 1999's superb 'Judgement' album follow new song 'Thin Air' and pass by in a flash with Vincent's spot-on vocals being all the more impressive considering his monitors aren't working and he can't hear what's going on. Considering that Anathema are beset by an array of technical problems tonight the performance is truly remarkable. Bassist Jamie Cavanagh's amp doesn't seem to be working until halfway through the first song and Danny Cavanagh's (yes they're three brothers) guitar rig shuts down totally after 'Everything', leaving him to play an impromptu acoustic 'Are You There?' to the delight of the crowd. The singalong this provides leads the grinning guitarist to thank the crowd for "One of (his) best ever moments on stage". When things do get going again 'One Last Goodbye' isn't a bad way to thank a crowd for its perseverance. Probably the most timelessly beautiful song Anathema have ever, or will ever, write, it's as touching live as in its original form on record.

One thing Anathema do manage live to some great effect is pace the set extremely well. They know just when it's time to break out another raft of new songs or a heavy track to remind everyone they're not totally given over to atmospheric balladry. The likes of 'Empty', 'Judgement' and 'Panic' provide the heavy highlights whilst the occasional addition of Lee Douglas' tender female vocals gives a nice contrast to Vincent's powerful tones. Indeed Lee's lead vocal song 'A Natural Disaster' is one of the best moments of the show. As it's an evening with show the band are on stage for nearly 2 hours before departing to the superb 'Flying', only to return with epic new album closer 'Universal' and a "really, really old song" in 'Sleepless' before 'Shroud of False' and 'Fragile Dreams' close the evening. The band may not have been able to hear much or even rely on their equipment working but they were still excellent all the way through. In fact the only real gripe is that Les Smith's keyboards aren't always as prominent as they should be. A top notch show...and actually far better than I expected it to be.

Anathema - 10/10

Anathema setlist
Thin Air
Deep
Pitiless
Forgotten Hopes
Destiny Is Dead
Dreaming Light
Everything
Are You There? (Danny solo - acoustic)
One Last Goodbye
Inner Silence
Empty
Lost Control
Angels Walk Among Us
Presence
A Simple Mistake
Closer
Judgement
Panic
A Natural Disaster
Temporary Peace
Flying
-----
Universal
Sleepless
Shroud Of False
Fragile Dreams

Birds Of Tokyo - Camden Barfly - Monday 17th May 2010

2010-05-19T04:56:00.001-07:00

Birds of Tokyo are one of the many brilliant bands currently streaming out of Australia. This is a scene including such bands as The Butterfly Effect, Cog, Sleep Parade, Dead Letter Circus and, of course, Karnivool. The 'Vool have already begun to make waves in Europe, partly because they write awesomely experimental yet catchy song, and partly because of their ridiculously good live performances. Thus it is not surprising to learn that Birds of Tokyo are best known in the UK at the moment for their singer, for it is Ian Kenny of Karnivool 'fame' that leads the band with his soaring vocals through their wide array of poppy alt-rock tunes. It is unfair to describe the band as a side-project for Kenny, even though that may well be the case, as they have been far more prolific than Karnivool...already gearing up for their third album in a six year lifespan whereas it took the 'Vool 12 years to get two out. Indeed Birds aren't universally popular with 'Vool fans but then they do sound, pretty much, nothing alike. Birds are all about the soaring choruses and are more grunge than they are prog. Thus much of the crowd packed into the Barfly for the band's first UK headline show could be said to be more curious 'Vool lovers than long-term fans.

When I say 'packed' I do mean that the Barfly is sold out for this show (and the following night's repeat performance) but I also mean that is only 'packed' once Birds are about to come onstage. Catalunan quartet Mujeres come onstage to a grand total of...9 people (including yours truly). Their brand of lo-fi garage with a slight folk element is eminently danceable yet also repetitive. Each of their songs sounds pretty much exactly the same but they're still fairly enjoyable and get involved in some football banter, which must be a good thing. Second support act Little Fish are better, although frontwoman Julia Sophie talks a bit too much. Their songs are pure garage rock and whilst some of them are pretty good, some of them are pretty average as well. They're a lot better than Hole though, whom they've recently been supporting. They also don't seem to have thought getting off the stage after their set through very well. The keyboard/synth set up is particularly clumsily taken off, thanks only to the acquiescence of crowd members getting out of the way.

Birds of Tokyo finally reach the stage around 10pm and are worth the wait. The set features a mix of new material, including stomping new single 'The Saddest Thing I Know', alongside choice cuts from their first two records, highlights of which include 'Wayside' and 'Broken Bones'. Kenny is an engaging, if slightly bizarre, frontman as ever and the band's live sound is fleshed out by the addition of a keyboard player to back up Adam Spark's understated guitar. Kenny meanwhile dons an acoustic guitar for superb renditions of 'Head In My Hands' and 'Train Wrecks'. The band seem genuinely pleased with the reaction they get from the crowd and look especially delighted whenever a singalong starts up. The band have also managed to get the best out of the Barfly's sound system it appears, at least from directly in front of the stage where I stand, with Kenny's vocals as clear as the guitar solos and Anthonny Jackson's thudding basslines never threatening to swallow up the rest of the sound. The only gripe worth giving much airtime too is that the set is quite short. The band are only onstage for 70 minutes or so and a couple more songs from the back catalogue would have done quite nicely to round off the evening. Very enjoyable show though all the same.

Mujeres - 5/10
Little Fish - 7/10
Birds of Tokyo - 9/10

Birds of Tokyo setlist
The Saddest Thing I Know
Armour For Liars
Wild Eyed Boy
Off Kilter
Plans
White Witch
Wild At Heart
Head In My Hands
Train Wrecks
Circles
Wayside
Broken Bones
Valley
Shiloutettic

(pics coming soon)

Deftones - Euston ULU - Wednesday 12th May 2010

2010-05-15T04:03:00.000-07:00

It's been a tough time for Deftones in the last couple of years. Bassist Chi Cheng was placed in a coma after a terrible car accident in November 2008 and the band, having decided to carry on recording the album 'Eros' with ex-Quicksand man Sergio Vega, struggled to get a new record fully together. 'Diamond Eyes' was released on 3rd May 2008. It is not a replacement for 'Eros', which has been shelved for the meantime but is, for certain, the best Deftones record since 'White Pony' arrived back at the beginning of the decade. Whilst the two albums between 'White Pony' and 'Diamond Eyes' contained some truly awesome songs they were both struck with inconsistency and a lack of flow. For Deftones to return in 2010, despite the tragedy they have suffered, and release a record as wonderfully cohesive as 'Diamond Eyes' then is something of an achievement.

One thing I believe has not been affected at any stage is Deftones ability to play truly spell-binding live shows. This show at the ULU is no exception. Being one of the smaller venues that Deftones have played in recent years, this special show for MTV Presents has something of a special atmosphere to it. The majority of the people crammed inside the university venue appear to be long-term fans of the band and all seem delighted when the band emerge on stage at around quarter past 8 to the mega riffage of 'Rocket Skates', the "guns! razors! knives!" chorus of which provides the first scream along of the evening. It takes the band a little while to hit full stride but by the time the tones of 'Knife Party' and 'Passenger', incidentally my two favourite Deftones songs, have been wheeled out it's hard not to feel as if you're witnessing a band who are kings of the live arena. Singer Chino Moreno is on fine vocal form, mixing screams with raps and high notes expertly, and Sergio Vega is an active figure onstage. The fact that songs from 'Diamond Eyes' are all highlights tells you all you need to know about the new record. That they can stand out just a couple of weeks after release amongst the likes of 'Birthmark' and 'Be Quiet And Drive (Far Away)' is testament to the strength of these new anthems. Of the heavier lot 'CMND/CNTRL' is an obvious choice to wax lyrical about with Chino having the crowd in the palm of his hand throughout while Steph Carpenter's monstrous riffs blare out in the background. The one problem with this gig indeed is that the sound at the ULU is really nothing to write home about. It's all actually...dare I say it, rather quiet. Not that this stops the band putting their all in with Abe Cunningham's drums being as powerhouse as on record and Chino getting up close and personal with the crowd when he so chooses. Any show that ends with an encore of 'Root' and '7 Words' can hardly be spoilt by minor sound gripes from audiophiles like me anyway! A great evening and a pleasure to finally see Deftones live at last. Bring on the next time!

Deftones - 9/10

Deftones setlist
Rocket Skates
Diamond Eyes
Feiticeira
Elite
Knife Party
Passenger
CMND/CNTRL
You've Seen The Butcher
Sextape
When Girls Telephone Boys
Minerva
Birthmark
Beauty School
Prince*
Be Quiet And Drive (Far Away)
Around The Fur
Lotion
My Own Summer (Shove It)
Back To School (Mini Maggit)
Change (In The House Of Flies)
-----
Root
7 Words

* I am sure they played 'Prince' but the only setlist I can find on the web doesn't include it. Whether I imagined it or not is up for debate.

Biffy Clyro - Hammersmith Apollo - Thursday 6th May 2010

2010-05-08T10:37:00.000-07:00

It's been ages since I last saw Biffy live. Ok, I'm lying, it was only October. I mean, what are they playing at? This is their first UK tour in over six months, utterly ridiculous. Perhaps they should record a DVD at some point so that people like me can watch that in the gap between tours. Oh wait, it appears that they are, judging by the amount of cameramen present at tonight's Hammersmith Apollo gig. This is the first time Biffy have played the legendary venue, perhaps best known nowadays for the BBC's 'Live At The Apollo' which is, you guessed it, filmed at the venue (the clue's in the title). Anyway Biffy are pretty famous nowadays (I know, how times have changed) and therefore can fill venues of this size with consumate ease. Tonight's clientele are undoubtedly far more 'scene' than the people who used to go and see them. Furthermore they even get celebs at shows now...tonight we have all of Watford hardcore act Gallows, plugged so much by NME and Kerrang! that it's reached the point where it's hard to see how they have any punk credential left at all, and...er, Nick Knowles. Yeah, you know, the guy who presents DIY SOS. He's a real celebrity, honest.

Moving on to matters of real importance and vigour, the first support act onstage tonight at the Apollo is Sheffield avant-garde noisecore quintet Rolo Tomassi. They're kind of hard to describe. If you haven't heard them then you should imagine what it would sound like if your house blew up...right now. Then you should add to that image the sounds of smashing crockery, screaming infants and classic.fm, plus synthesizers. This is a band that's certainly not lacking in originality. However they don't go down well with everyone at the Apollo tonight, possibly because they are, to say the least, an acquired taste. An awesome acquired taste at that. One thing you may not guess upon hearing them for the first time is that the screams and growls that populate much of their vocal output are provided by the sensible looking, petite Eva Spence. Whilst her growls are easily audible, when she slips into angelic clean vocals, they are regrettably lost in the mix. A very nice half an hour set from the band.

Following Rolo Tomassi are Scottish indie shoegazers The Twilight Sad. The barely say a word to the crowd during their set, with singer James Graham being completely wrapped up in the music to the extent that he spends a significant part of the set screaming the words not into the microphone but from the edge of the stage, with eyes closed, directly to the audience. Their sound owes a lot to the likes of Arab Strap and Aereogramme and Graham's unmistakably Scottish voice shines through above Alan McFarlane's fizzing guitar. Although they may well be a little understated for many of the people here tonight, this is a fine performance from a great band that you should all check out.

By the time Biffy Clyro come onstage the crowd is ready for them. Joined onstage by Oceansize guitarist Mike Vennart really helps them flesh out their live sound, with Neil still playing the lead parts but with Vennart making the songs sound as real onstage as on record. As per usual, 'That Golden Rule' kicks things off in some style. It drops like a bomb with bodies flying within seconds. The band barely take time for breathers in this ninety minute set dominated by cuts from 'Only Revolutions', highlights including the visceral 'Shock Shock' and the anthemic 'Whorses'. Simon pummels his guitar into submission like there's no tomorrow while Ben batters his drum kit into oblivion and James grooves away all over the place. Mike, meanwhile, dances around and yells out the words with a passionate zeal that makes him popular with the crowd, even though they haven't a clue who he is (their loss). Indeed, my attempt to get a "Mike Vennart's a legend" chant going fails horribly. Whilst the newer songs are impressive, the oldies are still the best. 'Bodies In Flight' is the behemoth live I have always dreamt it to be (I have been waiting SO long to hear this, my favourite Biffy song live, that it's a relief to finally hear it. If only they'd played it twice) and 'There's No Such Thing As A Jaggy Snake' twists and turns as perfectly as ever. A double whammy of 'Convex, Concave' and 'The Captain' ends the night in fine style. Bring on the arena tour in November/December!

Rolo Tomassi - 8/10
The Twilight Sad - 8/10
Biffy Clyro - 9/10

Biffy Clyro setlist
That Golden Rule
Living Is A Problem
Glitter & Trauma
Bubbles
9/15ths
Shock Shock
Who's Got A Match?
Justboy
God & Satan
Mountains
Bodies In Flight
Born On A Horse
Saturday Superhouse
A Whole Child Ago
There's No Such Thing As A Jaggy Snake
Many Of Horror
Whorses
-----
Cloud Of Stink
Machines
Convex, Concave
The Captain

Freeze The Atlantic - Camden Barfly - Thursday 29th April 2010

2010-05-03T09:26:00.000-07:00

It's difficult to sum up my feelings upon the approach of this gig. You see, there was this band called Reuben whom I, and many others, loved a great deal. A band that was as honest and as dedicated to their fans as one could wish a band to be...and they wrote some pretty kick-ass songs as well. In 2008 Reuben split up, leaving a gaping hole in the British music scene for their followers. It seems pretty unlikely that they'll ever return, especially with singer/guitarist Jamie Lenman pursuing a reasonably successful illustration career at the present. This is obviously sad but perhaps it's time to get over it...for Freeze The Atlantic's sake.

Fast forward to 29th April 2010. Freeze The Atlantic are about to play their first ever gig. This is a band featuring not only two ex-members of Reuben in bassist Jon Pearce and drummer Guy Davis but also members of Hundred Reasons (Andy Gilmour, who plays bass in HR but guitar here) and Archie & The Instincts (Tom Stevens, guitarist). It's something of an early 21st century southern counties supergroup. For many of the people packed into the Barfly tonight however, this is all about Jon and Guy's involvement. There are people here looking for FtA to fill the Reuben sized gap mentioned earlier.

Before the 200 strong crowd find out whether FtA are going to be awesome or a damp squib however there are two totally mental support acts to enjoy. Hold Your Horse Is are a bit like the live music equivalent of a bottle of coke exploding in an expensive Porsche, thus ruining the leather upholstery. Basically, they're really kinda awesome in a crazy sort of way (assuming you don't own a Porsche). Musically they sound a fair amount like Mclusky. You should go and see them if they're playing near you and buy one of their ultra horsey t-shirts as well.

Cars On Fire are more visceral than HYHI. Frontman Ali Ross is in the crow within thirty seconds of the first song kicking off, stirring up the first pit of the evening (spoiler alert). This is a band that sounds like Reuben, the Bristolians provide some almighty riffage with some mega screams from Ross and yet still with anthemic choruses on the likes of 'Burn The Suits' and 'Sharks'. The sound isn't perfect and there's some refining to be done before they can truly match some of their heroes but this is a band that will be pretty awesome for sure by the time they get their first full album out; mini-album 'Dig Your Own Grave' is out now, they'll give it to you for a fiver if you ask nicely!

When Freeze The Atlantic finally enter the stage the tension is noticeable. Not that they appear to have noticed. This is an incredibly tight performance from a band playing their first gig and they don't let the fact that the crowd is hearing most of these songs for the first time hold them back in any way at all. Singer Daniel Flay is the only one who appears at all nervous but he still gives a fine performance, crowd surfing not once but twice, and it's great to see Jon and Guy back on stage again (admittedly Guy can't actually be seen but then again, he's supposed to be sitting down I suppose). It's important to note that they actually sound very little like Reuben at all. This isn't a bad thing at all, they're a very good band with some great songs, although I suspect some in the crowd may well be a little disappointed. The songs already released through their MySpace are obvious highlights merely because they're known, 'Feather In A Hurricane' being a particular favourite along with closer 'All These Things You Hold On To', which sees the crowd join in on the "woah-oh-oh-oh-oh" part toward the end. The band leave with a promise to return in September...bring it on. They may not be Reuben but they'll definitely do.

Hold Your Horse Is - 7/10
Cars On Fire - 7/10
Freeze The Atlantic - 8/10

Opeth - London Royal Albert Hall - Monday 5th April 2010

2010-04-06T05:17:00.001-07:00

It's hard to put this gig into words. For a big Opeth fan this night has been on the horizon for far too long, and now it finally arrives. The chance to see the greatest metal band the world has ever seen, or will ever see, in the magnificent surroundings of the Royal Albert Hall, one of the most prestigious classical music venues in the entire world. This is also a room that has played host to some of rock's most notable alumni; Deep Purple, Led Zeppelin, Eric Clapton, Camel and more recently the likes of Muse have all graced this venue with their presence. However, as Mikael Akerfeldt emphasises, nothing quite like Opeth has been heard here. This is a first for the venue as death growls, blast beasts and the word "c*nt" all make their Royal Albert Hall debut; the latter Mikael just couldn't resist incorporating into some mid set banter. This is not just a momentous occasion in the history of this illustrious venue (whether it knows it yet or not) but also for the band itself, celebrating 20 years of creating some of the most awe inspiring, sublime music known to man. This show is also being filmed for a future CD/DVD release and features something anyone who truly appreciates incredible music will find a salivating prospect: the landmark 'Blackwater Park' album, in full, followed by a further song from each of Opeth's albums. This is also a room with the best possible acoustics meaning that every song can be heard as perfectly as it was meant to be. And yet some people wonder why I've been so momentously excited about this since it was announced in late November...philstines!

Promptly, at 7.30pm, the lights dim and the backdrop screen lights up with the artwork from the newly reissued album that is about to be unleashed fully live for only the fourth time in history (previous concerts in Stockholm, Essen and Paris have led up to this London date). As the chilling soundscapes that begin 'The Leper Affinity' echo out five men appear on stage and proceed to rip into the earth shuddering grooves that Opeth are famous for. The first set whizzes by in what seems like about ten minutes. There is no banter from Akerfeldt here, instead preferring to see the album performance as something that should flow perfectly with no distractions. The crowd are near silent in awe, realising they are witnessing something they will never witness again. Every song from the album is absolutely kickass live. Even 'The Funeral Portrait', which I have to confess drags occasionally on record, is perfect in a live environment. By the time the title track has concluded the first set there's already been more than enough brilliance to satisfy but, and this is the best bit, we're not even halfway through the evening yet.

After a 20 minute interval Opeth return to blast out over 90 minutes more of perfect prog metal. 'Forest of October' from the first record 'Orchid' kicks things off (a song which I think I am correct in saying has never been played live before this tour). This is followed by song after song balancing the darkness and light, the brutally heavy and the soothingly melodic. 'The Moor' is perhaps the highlight of the evening, a complex monster that is if possible even better live than on the 'Still Life' album it opens. After a performance of 'Wreath' heavy enough to flatten most major cities comes the tranquil acoustics of 'Hope Leaves' and then something akin to the ultimate concert ending double header, 'Harlequin Forest' and 'The Lotus Eater'. Preceding each of the second set songs is some, typically hilarious, Mikael Akerfeldt bant that ranges in theme from his friendship with Porcupine Tree mastermind Steven Wilson to the stories behind each album. 'The Lotus Eater' is a wonderful end to the show even with a mega pause in the middle of the song in which lead guitarist Fredrik Akesson's pedal system lets him down. The band merely picks up where they left off, as if nothing had happened (that bit might be edited out of the DVD though I suspect!). It doesn't even seem like a blemish on the performance of this behemoth of a band. This is a performance that comes around too rarely, perfect in every fashion. The best gig I've ever seen, possibly will ever see. What more than that is needed to sum up?

Opeth - 11/10 (because, as Spinal Tap told us, metal goes up to 11)

Opeth setlist:
The Leper Affinity
Bleak
Harvest
The Drapery Falls
Dirge for November
The Funeral Portrait
Patterns in the Ivy
Blackwater Park
-----
Forest of October
Advent
April Ethereal
The Moor
Wreath
Hope Leaves
Harlequin Forest
The Lotus Eater

Scream! Shout! Say Nothing - Hitchin Club 85 - Friday 2nd April 2010

2010-04-03T12:28:00.001-07:00

Just a quick review for this show, a charity gig for the worthy cause of 'Help A London Child' which is headlined by Hertfordshire's best post-hardcore act Scream! Shout! Say Nothing with help from three fellow local bands.

The Body Electric is essentially a vehicle for singer-songwriter Dan Heuer. I only see two songs of their set, which are both a little dull on the live front but seem still to contain some interesting ideas. A debut EP has recently been recorded and should be released soon which could be interesting. They aren't exactly riveting live though, judging by the short portion of this set I witness. Escape 1942 have a fairly expansive sound, playing post-rock augmented by violin and often dual male/female vocals. This, from what they say on the night, is their first gig to a proper audience for quite some time and they seem a little bit nervous. Pleasant enough then but not on fire by any stretch of the imagination.

There Were Bears are fantastic. They are a Letchworth based band (two of them work in the excellent independent store David's Music) who play cinematic rock of the highest order that is at its best when exploding from soft melody to juddering heaviness. Impressive stuff indeed and their half hour set whizzes by in a whirl of shivering guitar and atmosphere. They don't seem to have any records out for sale anywhere but hopefully there'll be one soon. Scream! Shout! Say Nothing have a problem tonight. Singer Ben Davies has a sore throat and, whenever he hurls himself into one of his trademark 110% screams, the microphone cord falls out, again and again and again, to the point where he's reduced to leaving the mic attached to the stand. S!S!SN are also missing bassist Chris Hollis tonight but are instead joined by Nick from The October Game (who are a band I keep meaning to get into...you should too). The evening ends with everyone piling onstage for a mass singalong to "Gimme Inner Peace Or I'll Mop The Floor With Ya", always a fitting way to end a set and a fitting conclusion to a good night's local music.

The Body Electric - 5/10
Escape 1942 - 6/10
There Were Bears - 8/10
Scream! Shout! Say Nothing - 7/10

Frank Turner - Camden Roundhouse - Wednesday 24th March 2010

2010-03-25T13:54:00.000-07:00

The rise of Frank Turner has, to say the least, been unexpected. This is a man who was educated at Eton and LSE yet was a rebel at heart, playing first with alternative rockers Kneejerk during his school days and later becoming vocalist of influential hardcore punk act Million Dead. The band split up in 2005 and Frank embarked on a full-time solo career. His rise to the top has been rapid and, in keeping with his punk credentials, without the mainstream radio fanfare that so many acts rely upon. Tonight sees his biggest headline show to date (at least until December when he is scheduled to headline Brixton!) and the Roundhouse is packed. This is a man who has moved effortlessly from playing on his own to 100 people in a pub to playing to 3500 in a place like this.

Indeed Frank has grown to such an extent that supporting him on this recent UK tour has been Chuck Ragan (yes the one who used to sing in Hot Water Music). I arrive just in time to see Chuck take to the stage, sadly missing highly rated folk-punkers Crazy Arm (I misread the show time on the tickets because I am a stupid fool like that sometimes). For those who aren't familiar with any of his work Ragan sings a little like a more hardcore version of Mark Lanegan. His songs are undeniably impressive works, complimented by a superb backing band while Frank demonstrates his admiration for Ragan by joining him onstage for a brief duet. Having not heard any of his solo music before I am now determined to hear some more.

By the time Frank Turner himself takes to the stage a singalong hungry crowd ready and waiting for him. At least half the people in the Roundhouse tonight seem perfectly willing and able to scream along to the man's most memorable anthems, such as opener "Photosynthesis" and (my personal favourite Frank song) "I Knew Prufrock Before He Was Famous". Many are familiar with the rarities that creep into the set as well, "Once We Were Anarchists" being especially superb. Whilst Frank's backing band are solid and help add depth to his songs this is an artist reliant on his songwriting touch, writing lyrics that can be cynical, affecting and heartwarming all at the same time. Sometimes it almost feels as if the songs aren't suited to such a cavernous place but they are still pulled off with a fine degree of aplomb and the set whizzes by, only with the occasional pause for Frank to exclaim his joy at peforming the show or to rant about the state of British politics. The real Dan of "Dan's Song" comes onstage for the song after which he is named and Chuck Ragan and friends join him for a cover of his own song to open up the encore and, after a storming performance of "The Road", Frank returns solo for a closing rendition of "The Ballad Of Me And My Friends", that still manges to feel intimate somehow despite the size of the venue. It's wonderful to see that an artist such as Frank, someone who should be a mainstream outsider by all usual parameters, can get so far and attract so many new fans. It's easy to moan about the taste of the music buying population of Britain today but sometimes they get things right, as they have done with Biffy Clyro in the last few years, and this is another shining example. Just don't leave the smaller venues totally behind please Frank!

Chuck Ragan - 7/10
Frank Turner - 8/10

Frank Turner setlist
Photosynthesis
Try This At Home
Once We Were Anarchists
Richard Devine
The Real Damage
Poetry Of The Deed
Father's Day
Isabel
Back In The Day
Dan's Song (+ Dan)
Jet Lag
To Take You Home
Our Lady Of The Campfire
Long Live The Queen
Sons Of Liberty
I Knew Prufrock Before He Was Famous
Reasons Not To Be An Idiot

Revival Song (w/ Chuck Ragan + others)
St. Christopher Is Coming Home
The Road

The Ballad Of Me And My Friends

Karnivool - Highbury Garage - Monday 15th March 2010

2010-03-16T09:43:00.000-07:00

For those in the know Karnivool are one of those bands. An artist about whom one can feel passionate about, a band who'd be worth travelling miles upon miles to see. It's astonishing walking into the Garage tonight how many of these hardcore 'Vool fans there are present. When I witnessed the band's first London headline show last October it was to a 250 capcity venue in which many were clearly just curious as opposed to devoted. The heaving 600 capcity Garage is a different prospect with many of the devoted signalling their love outwardly with their Karnivool t-shirt of choice. There are fans present from, it seems, all over Europe as well, all converging on the barrier in front of the stage. Mixed amongst them come those who are still just curious, have heard the word about these Aussie prog rockers but haven't actually heard anything for themselves tonight. I feel proud to say these people appear to be outnumbered tonight.

However before the onset of the 'Vool comes Southampton post-hardcore quintet a word like.attack who are, for want of better words, obviously inexperienced in front of such a large crowd. They seem a little daunted by the occasion and aren't helped by their lead vocalist being sadly inaudible throughout most of their short half hour set. There is energy aplenty and opening song "Though We Aren't Birds We're Still Given To Flight" is a pretty special track but they appear to be lost on the majority of the 'Vool hungry crowd. A good effort anyhow.

When they finally arrive on stage Karnivool are utterly mesmerising. I didn't think they could possibly be any better than last time but I was 100% wrong. From the moment "Simple Boy" kicks in to the moment "Change" fizzles out into nothingess this is a rapturous occasion. Ian Kenny is a bizarrely engaging frontman with as perfect a live voice as one could want while he is backed by four exceptional musicians, with Jon Stockman underpinning each song with his standard groove defying basslines and Drew Goddard leading it all with his, not flashy, but nont the less effective lead guitar work. The crowd, at least at the front, screams along to every word of fan favourites such as "New Day" and "Fear of the Sky" whilst the double whammy of "Roquefort" and "TheMata" grinds the pit into full working capacity and ensures all are lost in the shapeshifting textures and tones that this increedible band create. There's not much that can be said about a gig like this, it flashes by in the blink of an eye but every moment is sumptuous with the nuances of epics like "Deadman" still being just as apparent yet wonderfully subtle as on record. All I can say is roll on next time!

a word like.attack - 7/10
Karnivool - 10/10

Karnivool setlist

Katatonia - Highbury Garage - Thursday 11th March 2010

2010-03-12T12:16:00.000-08:00

Katatonia are something of a unique act in the incredibly diverse hard rock/metal scene of today. These Swedish titans began their career as standard doom merchants but nowadays incorporate Cure like electronics with their melancholic atmosphere and earth shaking riffs. Tonight they arrive in London to a sold out Garage, around 500 people apparently, which is undeniably impressive for a band that receive barely even a mention on radio in Britain. They bring with them two more highly rated European bands, fellow doomsters from Finland in Swallow The Sun and, opening the bill, German post-rockers Long Distance Calling.

The aforementioned openers are a better than average post-rock act for certain featuring songs driven by Jan Hoffman's thunderous basslines and accentuated by Reimut Van Bonn's synths and ambient effects. While not doing anything especially unique they are subtle enough not to rely on the same formula song after song with gradual build ups to heaviness being just as common as a sudden switch from melodic picking to crushing bursts of sonic destruction. An impressive half hour set that also is their first peformance in London. Hopefully Long Distance Calling will come again to the UK soon.

Swallow The Sun troop onstage to an intro tape that, although atmospheric, goes on for at least a minute longer than it needs to. When Mikko Kotamaki's vocals first cut in they are sadly barely audible but eventually are upped in the mix enough for his talent to come through. This sextet may lack onstage charisma but make up for it with their suitably heavy riffs that get the crowd headbanging along. The melodeath aspects to their music add a different slant to their music from most bands of a similar ilk and the tightness of their live act is undeniably impressive. A band that is worth seeing and listening to.

The crowd are fully prepared for Katatonia by the time they hit the stage at 9.30pm, opening their set with new album "Night Is The New Day" standout "Forsaker". Despite recently losing brothers Mattias and Fredrik Norrman from their outfit this is a band on top form. Every riff echoes with the same power as on record and Jonas Renkse's aching vocals are almost perfect throughout. Anders Nystrom's solos meanwhile are more understated than flashy but perfectly suited to the songs the band create. The crowd sing along to the likes of live rarities "Omerta" and "Saw You Drown" and have a jolly good headbang to all the band's impressive hits and new songs. This isn't a band for going totally crazy to by any stretch of the imagination and one crowd surf attempts fails in all but succeeding to knock my glasses off (first time for everything). Meanwhile temporary guitarist Per 'Sodomizer' Eriksson and bassit Niklas 'Nile' Sundin fit in as if they've been in the band for years. Although the set contains perhaps a little too much from the "Viva Emptiness" and "Great Cold Distance" albums a gig cannot be in any way bad if it finishes with a double whammy of "Dispossession" and "Leaders", seeing Katatonia depart to raucous applause and thus concluding a great evening.

Long Distance Calling - 7/10
Swallow The Sun - 7/10
Katatonia - 8/10

Katatonia setlist

Forsaker
Liberation
My Twin
Onward Into Battle
Complicity
The Longest Year
Omerta
Teargas
Saw You Drown
Idle Blood
Ghost Of The Sun
Evidence
Rusted
Day And Then The Shade
In The White
For My Demons
---
Dispossession
Leaders

Twin Atlantic - Charing Cross Borderline - Wednesday 3rd March 2010

2010-03-04T08:42:00.000-08:00

Having been a Twin Atlantic fan from the early days of their existence it's been interesting to watch how the Scottish quartet have grown over the last couple of years. In their hometown of Glasgow the cavernous ABC has recently been filled by fervent local support but in London things are still on a smaller scale with the Borderline, one of the best 200-300 capacity venues around, providing the scene for the band tonight.

Opening things up are surprise special guests. There are, unfounded unlikely but promising in their vague degree of possibility, rumours beforehand of Biffy Clyro being the aforementioned guests but it is actually post-hardcore rockers Brigade who get things started off. Somewhat unfairly best known for being led by Will Simpson, Charlie Simpson of Busted and Fightstar fame's younger brother, they are more substantial than a great degree of their current peers but are dogged by sound issues in their brief set. Playing a set of almost exclusively new songs they struggle to hold the attention of those who haven't got a clue who they are. Not bad by any stretch of the imagination but certainly not the steady live act I've seen before.

Canterbury come next. I'm not optimistic as they come onstage having been distinctly unimpressed with their somewhat generic pop-punk shenanigans supporting Hundred Reasons last year. Pleasingly they have improved. Whereas previously the keyboardist / sometime lead vocalist appeared to spend most of the set narrowly avoiding falling off the stage and very little time actually doing something now they're a much tighter live act. Not really a band I'd choose to see or listen to often but at least energetic enough to avoid blending in too much with a saturated scene.

Bounding onstage with their usual enthusiasm Twin Atlantic play an absolute blinder of a set. Where they used to be somewhat restrained now their energy is apparently boundelss. Frontman Sam McTrusty oozes onstage persona like it's going out of fashion and guitarist / cellist Barry McKenna bounds around like a Jack Russell who's been given free reign of a dog biscuit factory. Behind them bassist Ross McNae and drummer Craig Kneale provide an impressive rhythm section. Whilst the crowd take a while to get going it's not long before a moshpit has kicked in and the crowd are screaming back the words to the likes of "What Is Light? Where Is Laughter?" and "Time Is The Enemy" in the direction of the band. The quartet appear to be having a great time and, although threatened with being cut off before concluding song "Audience & Audio" they finish triumphantly. This band has grown into a true live behemoth and, much as I'd love to be able to keep them to myself for a while longer, I think venues the size of the ABC are only a matter of time away in London as well. Genuinely up their with the best live sets I've seen.

Brigade - 6/10
Canterbury - 6/10
Twin Atlantic - 10/10

Twin Atlantic setlist (roughly right order)

You're Turning Into John Wayne
Lightspeed
I Cave In
Old Grey Face
Running From Money (if anyone can clarify the title of this song it'd be cool)
Time Is The Enemy
Better Weather
What Is Light? Where Is Laughter?
A Guidance From Colour
Human After All
Caribbean War Syndrome
Audience & Audio

Tubelord - Hitchin Club 85 - Saturday 20th February 2010

2010-02-21T04:03:00.000-08:00

For those of you who don't already know...Tubelord are an awesome band. They play a unique form of alternative rock that carefully balances the melodicism and vocal harmonics of pop music with a complex razor-edged sense of math experimentalism. Tonight they kick off their UK tour at North Hertfordshire's only decent music venue, for this is a county sadly lacking a prolific music scene. Before Tubelord take to the stage however, support comes in the shape of two fine local acts and tour support act Tall Ships.

Bounding on to the stage at a little past 8.15 come Minor Pilot, don't worry if you haven't heard of them as this is one of their first gigs. Playing an intriguing mix of standard alternative rock and perhaps the slightest hint of shoegaze and stoner influences, they immediately grab attention from the crowd courtesy of some interesting megaphone and xylophone use, it works better than you may think. A promising act for sure and one I'll be keeping an eye on for certain.

Having first seen local lads Scream! Shout! Say Nothing nearly 18 months ago now, as support for sadly deceased Hell Is For Heroes, and been impressed with them then I can't help but feel slightly guilty as they bound on stage with enthusiasm this evening. I really should have bought their album by now I think to myself (I'm onto it now) and their new songs sound equally good. They stand out a little on tonight's bill partly because they're a fair dollop heavier than the other acts but also because of the infectious stage presence that is singer/saxophonist Ben who spends a great deal of the set careering around the stage like a lion on rollerskates. A band who really deserve to be headlining venues of this size by now.

Tall Ships make an immediate impression of me, mainly because the bassist looks ridiculously like somebody I know. Once they start playing they prove to be fairly similar to tonight's headliners but with less focus on vocals and more on swapping instruments mid-song (something I highly approve of). Particularly impressive is when the frontman (sorry I don't know the name) dives from guitar and synths to behind the drum kit so that he can flail away with an admirable amount of gusto. Again a good band who I'll probably look out for in the future.

I've already mentioned the fact that Tubelord are a great band but I haven't yet mentioned one important fact. Every time I see this band they are better than the time before and that can surely can only be a good thing. Tonight sees, assumedly, their first gig with new band members, keyboardist Jamie(?) and bassist J(?). This certainly doesn't disrupt the band, they're tighter than ever and the addition of a fourth member really fills out the songs live with the intricate synth lines oft present on the debut record having been missed when I've seen them live before. A lovely addition sees Jamie flicking through the pages of a book on "Cows To The East, Cities To The West" whilst holding it up to the microphone. A great set culminates with a double header of "I Am Azerrad" and "Our First American Friends" and it's all over far sooner than the faithful would like. The band's performance may be near flawless but sadly the evening is spoilt slightly by the incessant talking in some sections of the crowd. It always amazes me how people decide that it's best to have a chat at a gig rather than going round to one another's houses, it just doesn't make sense and, of course, it's extremely rude. Ah well, still a great evening and I look forward to seeing all four of these bands again sometime soon.

Minor Pilot - 7/10
Scream! Shout! Say Nothing - 8/10
Tall Ships - 7/10
Tubelord - 9/10

Tubelord setlist (very much guesswork with the order and I may have missed some songs out)

Your Bed Is Kind Of Frightening
He Awoke On A Beach In Abergavenny
Night Of The Pencils
Propeller
Vessels
Cows To The East Cities To The West
Somewhere Out There A Dog Is On Fire
Stacey's Left Arm
I Am Azerrad
Our First American Friends

Oceansize - Villiers Street Heaven - Wednesday 3rd February 2010

2010-02-06T05:49:00.000-08:00

Heaven is a gay club most of the time, it's also under a shopping centre, and it's £4.10 for a pint...which I avoided to prevent bankruptcy. Oh, Oceansize played their biggest headline show to date there on Wednesday (so Mike says). The venue is surprisingly cavernous once you get inside, holding 1,625 supposedly. It's pretty cramped inside for 'Size, more so than I expected for sure.

Anyway on to the music and the first band on is Nottingham post-rockers Vessels who are basically like 65daysofstatic but with longer, more expansive songs. They use interesting beats and samples throughout and interestingly they swap instruments after every song as well (not the drummer). Having listened to none of their music beforehand it's a compliment to them that they come across well enough to persuade me to buy their album. Following them come Belfast's And So I Watch You From Afar who have plenty of fans in the building already judging by their reception. They're about as close to punk as post-rock is ever going to get and they play maniacs. Whilst the sound could be better and they are twice annoyed by a stupendously dull heckler, they are certainly a great live act.

No, they're not as good as Oceansize, did you really expect them to be? Despite numerous sound problems throughout their set the Mancunian art rockers are brilliant. New songs such as sludgy opener 'Part Cardiac' are just as impressive as old cuts like 'You Can't Keep A Bad Man Down', which sound as fresh today as the day they were first cooked up in a band rehearsal. Sadly songs from latest EP 'Home and Minor' are off the menu due to the technical problems but it doesn't matter when a band are such masters of their craft as 'Size are. Mike Vennart is an engaging frontman as ever and drummer Mark Heron is one of the best to watch in the game. Some in the crowd appear to have paid £13 to come and talk through the quiet songs but other than that people seem in awe of the performance. It's interesting that they choose to make up so much of the set from new cuts (particularly when ranging from the very quiet 'Ransoms' to the epic 'Steven's Head'). Closing with the furious 'It's My Tail And I'll Chase It If I Want' the band leave the stage to cries of encore, which are sadly unanswered. You may have noticed...I love this band.

Vessels - 8/10
And So I Watch You From Afar - 8/10
Oceansize - 8/10

Oceansize Setlist

Part Cardiac
Unfamiliar
The Charm Offensive
Build Us A Rocket Then, You Rocket Building Cunt
You Can't Keep A Bad Man Down
Ransoms
Steven's Head
Massive Bereavement
A Homage To A Shame
Tough Cookie
It's My Tail And I'll Chase It If I Want

Gigs of 2009

2010-01-13T04:06:00.000-08:00

Just a little summary of the shows I attended last year, only a few have reviews up here.

Gig of the year
It's difficult to choose between two bands I've waited years to see and whom both put on excellent shows but just shading it is Metallica at Sonisphere Knebworth. Because it's bound to become something of a "I saw them at Knebworth" thing in the band's fanbase due to the venue's stature. I'm still going to mention Pearl Jam though, who's O2 Arena show was the perfect example of how a band can be utterly captivating in a big venue without resorting to light show extravagance. They did play for a good 2 1/2 hours as well!

Support act of the year
Well it'd be easy to choose Oceansize who supported Biffy in Edinburgh but seeing as they're a band I already knew and loved I feel it would be a wee bit unfair. Pulled Apart By Horses on the other hand I knew very little about and I was blown away by their mix of serrated riffs and genuine attitude. They were a great warmup for the Biff in Southampton and Brighton.

Unexpectedly brilliant gig of the year
12 months ago I'd barely heard of Aussies Karnivool but in 2009 they became one of my favourite bands. Still when I went to see them in October I wasn't sure what I'd think of them live (I'd heard mixed things). I needen't have worried. That evening cemented their place as a band for me to cherish. I can't wait to see them again in March.

Disappointment of the year
Only one real contender for this, Muse, on their first night at the O2 on 12th November. I spent a good hour writing a review of this gig but it became more of an article about how the band has changed (expect this to surface on this blog at some point). Let's just say that for a band that prides itself on it's live reputation, and rightly so cause they can be bloody brilliant, I thought it was an enormous let down.

The Gene Hoglan Brutality Award
Yes, this is an award I've made up and named in honour of Strapping Young Lad / Morbid Angel / several other worthwhile metal bands drummer Gene Hoglan. It is awarded to the band that most made me fear for my life in awe of their awesome METAL power in 2009. It can only go to Gojira. Intense barely covers it. The fact that the venue was smaller than the hall at my school probably had an effect too.

The John Petrucci Award For Incredible Musicianship
Goes to Dream Theater, obviously.

The Grant Nicholas Award For Provoking Mass Singalongs
Although Therapy? and Hundred Reasons do have a case, as do Nicholas' Feeder itself I think it has to be Biffy Clyro who get this award because I screamed along to every word as per usual. Sorry if that was annoying for anyone.

The Being Downright Weird Award
Only one contender for being really, really weird onstage this year: Unexpect. I'm not sure whether it was brilliant or terrible 3 months on and I'm not sure I'll ever know to be honest.

The Jonny Greenwood Award For Technical Misendeavour
Not their fault but a power cut caused 65daysofstatic's gig to be shortened at Dingwall's in April. Shame because I've waited a while to see them...but I'm sure I'll be seeing them again sooner rather than later.

The Pink Floyd Award For Stage Show
It probably should be given to Muse because to be honest their stage set-up was quite cool...but I'm giving it to Porcupine Tree instead for Lasse Hoile's extremely impressive graphics.

Venue of the year
The nominees are:

Greenwich O2 Arena for being an arena that it's actually enjoyable to go to and watch a gig at. Good sound for such a large place as well.
Kingston Peel is always a wonderful place to go and see gigs, or to see 'Size at least.
Southampton Guildhall is a venue I've been to far many times, considering I live nowhere near it. Always good sound and always a good atmosphere. Both Biffy and Dream Theater were very good there this year.
Regents Street Apple Store is full to the brim with iPhones and stuff...coolio.

The winner is: Southampton Guildhall so well done to it.

Any other business
Some more bands that I've waited years to see in Porcupine Tree, Therapy?, Nine Inch Nails and Alice In Chains. Normally these bands would be gig of the year contenders but there were just so many amazing shows this year. I look forward to seeing them all (even NIN who I hope will do another tour at some point because Trent always changes his mind) again in the future.
Oh and ...And You Will Know Us By The Trail Of Dead and Manic Street Preachers get a mention too.

Cheerio for now

Oceansize - Kingston Peel - 30th October 2009

2009-10-31T06:37:00.001-07:00

Kingston Peel is a lovely little venue. I certainly think it is and it appears so do Oceansize who tonight (30th October 2009) play here for the third year in a row. This is the first headline show for the band of 2009 and arrives in support of recent EP 'Home & Minor'. The set does not just contain new songs from this release however coming as it does also with new songs never played by the band before from their forthcoming 4th album, set to be released in 2010.

Before Oceansize take to the stage however come two local acts in mistakes.in.animation and Shield Your Eyes. mistakes.in.animation feature massive Oceansize fan, and gig promoter, Del Noble on guitar and vocals and their set of reverb heavy songs ends in Noble flinging his guitar around like a mad man on the venue's floor, much to the surprise of several early doors pint swilling punters. Three piece Shield Your Eyes seem to have a very simple formula to their songs. They all begin with a jagged riff and some yelpy vocals before progressing to having the same riff, maybe with the odd variation, played over and over again with no vocals until the song comes to a conclusion just after falling asleep. Some onlookers clearly think this band are the bees knees. Let's just leave things as saying that I think they're average at best.

Oceansize arrive with a new song ('Ransoms') and depart with one also (the furious 'It's My Tale'). In between come fan favourites such as the rarely played 'Paper Champion' and the behemoth that is 'Massive Bereavement'. Also included is the complex monster of a new song currently known as 'Steven's Head' as well as 'Legal Teens' and 'Home & Minor' off the new EP. One of the things that Oceansize are total masters of in the live domain is the way their set flows. Songs don't merely start and then finish they progress naturally into one another with only the occasional bit of Mike Vennart stage banter providing lengthy pauses between songs. The absolute star of Oceansize's live show is drummer Mark Heron however...a truly incredible musician who deserves far more recognition than he is ever likely to get. Just to watch his drumming during songs like 'You Can't Keep A Bad Man Down' or 'A Homage To A Shame' is a treat on its own. The crowd also play their part, with one guy at the front holding up Mike's lyric sheet for him to read from during new songs! The ones actually into the music get great reward out of the show and persuade the band to come back for an encore of 'The Charm Offensive' which is as excellent live as ever. A thoroughly entertaining evening of 'Size.

mistakes.in.animation (6/10)

Shield Your Eyes (5/10)

Oceansize (10/10)

Biffy Clyro - Southampton Guildhall - 24th October 2009

2009-10-31T06:36:00.001-07:00

It feels like ages since I've seen Biffy Clyro. It's not, just a couple of months ago I journeyed all the way up to Edinburgh to see them. That's the sort of thing that you feel compelled to do when you're in love with a band. It's the sort of thing that the majority of people can't understand but for me following the fortunes of Biffy Clyro is just as important, more so if I'm going to be fully honest, as following the fortunes of my favourite sports teams. It's with a mix of pleasure and trepidation that I've watched over the past couple of years as Biffy have gone from the underground to firm fixtures in the Radio 1 bigtime. The pleasure comes from the three band members (singer/guitarist Simon Neil, bassist James Johnston and drummer Ben Johnston) now being in a position where, financially, they are set to continue with the job that they love doing for a reasonable time to come. Before the release of 2007's breakthrough "Puzzle" the Johnston twins were road digging to make ends meet. The trepidation...you'll see where that comes from later...

Tonight, 24th October 2009, sees the Southampton Guildhall comfortably sold out and a rabid crowd awaits the arrival onstage of Biffy Clyro, who in the last year have had two top 10 singles and therefore significantly expanded their fanbase. The crowd is an interesting mix ranging from those who are genuine music lovers in their obscure band t-shirts (Karnivool tonight for me, brilliant Tad t-shirt for someone else) to NME influenced scene kids in checked shirts of the least grunge variety to casual Radio 1 listeners who think Biffy's #5 single "Mountains" is the best thing since the last Coldplay mega single. First support act Tellison are not well known amongst the diverse crowd but their slightly more complex than average indie with plenty of added 'woah-oh-oh-ba-ba-da-la-ing' seems popular enough.

Pulled Apart By Horses are a different proposition entirely. They make as much of a racket with their instruments as they possibly could and their short scream filled exercises in noises shock as many people as they impress tonight for sure. Singer Tom Hudson gets up close and personal with the crowd as early as the second song while guitarist James Brown showcases his love for jumping off tall amplifiers. While only "I Punched A Lion In The Throat" and "E=MC Hammer" are truly memorable there's no doubting that PABH are an excellent live band even if the set ending with Hudson throwing up at the front of the stage and then rolling about in it is a little OTT even for the most seasoned gig goer.

By the time Biffy take to the stage there's no hope for getting back out again if you're near the front and when recent single "That Golden Rule" opens the set the Guildhall is a sea of flailing bodies with just a few lines of brave souls trapped against the barrier by the stage. This is a song that's judderingly heavy in a way that many so-called metal bands can't master after years of trying. A few songs later comes another sublime newie in "Bubbles" propelled by the twins' backing vocals while "Cloud Of Stink" is propelled by falsetto vocals and another thunderous riff. "God And Satan" meanwhile sees Neil playing his gorgeous Gretsch White Falcon while gently singing some of his simplest yet most profound lyrics yet, 'I savour hate as much as I crave for love because I'm just a twisted guy'. The highlights however are the oldest songs on display tonight. "Kill The Old, Torture Their Young" and "Hero Management" haven't been played much over the past few years but are truly incredible live, especially those in the know screaming 'Take me away!' along with Si at the end of the latter. Sadly there's far too few older songs in this set which features all but two tracks from "Puzzle". This is where the trepidation comes in...why exactly is a band supposedly promoting a new record playing pretty much the whole of their previous album every night? It's worrying as it does affect the quality of the show, the band is clearly not as energetic during Puzzle tracks like "A Whole Child Ago" and "Who's Got A Match?", both of which have been played to death since early 2007. It's worrying that the band appears to be getting stuck on "Puzzle" as if they're afraid of unleashing on an audience a bunch of older songs that the majority may not have bothered to hear. What they should be doing is trying to make the show the best it can possibly be and who cares if this means that half the crowd doesn't know half the songs being played?

The encore comes and goes with a sole old song, "Questions & Answers" which frankly seems a slightly bizarre choice to bring back because it was hardly their most popular song when it first came round. The final song is, perhaps unsurprisingly, "Mountains" but it doesn't end the evening on a high for the majority. It simply isn't a very good show closer especially considering this is a band that has songs like "Now The Action Is On Fire!", "57", " Bodies In Flight", "There's No Such Thing As A Jaggy Snake" and the (already played on the night but suitably epic) more recent "Living Is A Problem Because Everything Dies".

It's frustrating because I know how good this band can be live, sadly tonight they're just not as good as they can be.

Tellison - 6/10
Pulled Apart By Horses - 9/10
Biffy Clyro - 8/10

Biffy clyro played:

That Golden Rule
Living Is A Problem...
A Whole Child Ago
Bubbles
Love Has A Diameter
Kill The Old, Torture Their Young
Born On A Horse
9/15ths
Get Fucked Stud
Machines
Now I'm Everyone
God And Satan
Cloud Of Stink
Justboy
Hero Management
Glitter And Trauma
Saturday Superhouse
The Captain
---Encore---
Semi-Mental
Questions And Answers
As Dust Dances
Mountains

For the record 2 nights later at Brighton Dome they played JDI in place of Q&A and also dropped KTO, TTY from the set...very disappointing decision with KTO but there ye go!

Karnivool - Islington Academy 2 - 18th October 2009

2009-10-20T09:38:00.000-07:00

The small bar section of the O2 Islington Academy is cosy to say the least with a capacity of around 250 people making it the smalles of the O2 Academy venues spread across Britain. It probably comes as a bit of a shock to Karnivool, the best thing to come out of Australia since Shane Warne started to play test cricket. Back home their most recent album, the excellent 'Sound Awake' went straight to #2 in the charts and they have toured their home nation at credibly large venues to some major extent. This however is their first UK headline show scheduled between dates supporting Welsh reggae metal quartet Skindred across the UK' a first headline show that has been too long coming for the band's tiny yet dedicated army of UK fans.

The gig is thankfully sold out but by the time the first support band take to the stage is roughly two-thirds full only. Many not yet here will later express disappointment when they realise that Skindred opened for their touring partners, a secret surprisingly well kept until doors open. The second half of their set is pure dynamite, proving their reputation as an act whose reputation has been built on live foundations, and by the time they end with a blast through their best known song 'Nobody' the crowd is baying for more metal action. Essex metalcore act Forever Never do their best but unfortunately they are merely a generic metalcore band without the extra talent levels of unique songwriting to make them stand out from a tired scene in the same way that Exit Ten, for example, do. Lead singer Renny Carroll looks like a school's 1st XV rugby captain but jumps up and down with a ferocity that sees some in the audience worry that he may either fall off the tiny stage or else break through the lower than usual ceiling. His bandmates meanwhile strike an unusual mix between ditch dwellers, scene kids and Jerry Cantrell lookalikes and in contrast are extremely static. This gives the performance a somewhat underwhelming feel although, to be brutally honest, the music isn't good enough to deserve any better.

Some equipment issues see Karnivool arrive on stage slightly later than planned but they more than make up for it with the crowd cheering the opening chords of every song like the return of a long lost relative. It would not be an understatement to call the Australian quintet one of the tightest bands around at present as they make their complex grooves shimmer with the same force as on record. Singer Ian Kenny's voice is spot on throughout while the bass playing of Jon Stockman also deserves high praise. First album tracks such as 'Fear of the Sky' get the best reception but the strongest are those from the new record, especially opener 'Simple Boy' and the epic 'Deadman'. There isn't really enough room on stage for Kenny to employ the extravagant stage moves he apparently performs in larger venues but the enthusiasm and skill of the group is what makes them winners at this show. The guitar of Drew Goddard guides everything with his riffs being heavy enough to shake the walls but also technical enough to impress. By the time the band depart after their 11 song set they have won the hearts of any in the room who were undecided before the show. The band also seem to be genuinely enjoying themselves throughout, regularly expressing what a "pleasure" it is for them to be playing a headline show in the UK at long last. An absolute steal of a show at £8.50, everyone present hopes that they will return sooner rather than later.

9/10

Karnivool played:

Funeral For A Friend - Hatfield Herts University Forum - 15th October 2009

2009-10-16T08:11:00.000-07:00

Funeral For A Friend are one of those bands whose reputation is built more on live performance than on the quality of their studio albums and quite rightly so, for they are a formidable live act as anyone who has seen them will testify. The audience facing them tonight is mostly comprised of local students and it is apparent that many probably are not particularly big fans of the band but are just here to sample this new local venue (which only officially opened six days earlier with a performance from Mancunian indie rockers Doves). The venue itself is actually very nice, prompting singer Matt Davies to proclaim it "well lush", if lacking the atmosphere that only a number of spilt pints on the floor can give it over the next few years. It is not full though by any stretch of the imagination, which may be a little disappointing for a band that has previously played venues as large as Cardiff's International Arena.

The welsh quintet take to the stage with Davies miming along to some generic cheesy pop song ,that I probably should know but do not, before ripping straight into the jilted lover anthem that is 'Streetcar'. This is followed quickly by a succession of hits, for the band is promoting a greatest hits compilation with the current tour, including new single 'Wrench' and fan favourites 'Bend Your Arms To Look Like Wings' and 'All The Rage'. Matt Davies occasionally engages in a bit of light hearted banter with the crowd, oddly focused on kung-fu tonight, but the rest of the band remain quiet and focused. Bassist Gavin Burrough has settled into the band well since joining just over a year ago while guitar team Kris Coombs-Roberts and Darran Smith are as impressive in their riffing as ever. Meanwhile drummer Ryan Richards is solid if not spectacular in either his actual drumming or his occasional bouts of screamed vocals. The band are involved in something of an upward struggle however as the show as a whole, no matter how good the performance, lacks any real atmosphere while the sound has overdriven the treble to such an extent that the bass is nearly inaudible.

Essentially for fans of the band this is a fun show, especially the mass singalongs to 'Into Oblivion (Reunion)' and 'Juneau' that round off the evening, but for everyone else it's not the most memorable of gigs. To say it wasn't good would be a lie but it could have been better.

7/10

Funeral For A Friend Setlist (roughly):
Streetcar
Wrench
She Drove Me To Daytime Television
Bend Your Arms To Look Like Wings
This Year's Most Open Heartbreak
Recovery
All The Rage
Honour Amongst Theives
Bullet Theory
Red Is The New Black
Roses For The Dead
Built To Last
History
Rookie Of The Year
Escape Artists Never Die
Captains Of Industry
---Encore---
Into Oblivion (Reunion)
The Art Of American Football
Juneau

Progressive Nation 2009 - London Wembley Arena - 10th October 2009

2009-10-11T06:12:00.000-07:00

2008 saw Dream Theater take 3 other bands on tour around the US under the header of 'Progressive Nation'. 2009 saw them do the same with different bands and now also sees them take the tour to Europe with sub-headliners Opeth, first time Euro tourers BigElf and avant-garde Canadian septet Unexpect. The biggest date of the tour sees the four bands play at London's famous Wembley Arena, albeit a Wembley Arena that is only around two-thirds full.

Unexpect take to the stage at around quarter past six; they aptly manage to shock, confuse and amuse the audience all at once. Their sound, consisting of male and female vocals that are both growled and clean, is largely driven by the 9 string bassist ChaotH and is augmented by the keys of Exod and violin of Blaise Borboen-Leonard plus the metal standard guitars and frantic drumming. While the group clearly have many good ideas they fail to allow any idea to settle or progress, instead sounding rather like they write by trying to jumble everything up and throw it all up in the air before seeing where it will land. The sight of the band's furious headbanging and hair whipping is hilarious to say the least, as is the aforementioned 9 string bass. They're quite fun to watch and their willingness to conform as little as possible is to be applauded but they're the worst band on show at Wembley tonight.

Next up are retro rockers BigElf who, after entering to the strains of the imperial march music from Star Wars, proceed to play a series of heavy metal songs with organ attached in awe as much as possible to Black Sabbath. They're progressive only in the very loosest sense of the word with only the occasional Pink Floyd-esque touch backing up the tag. What they lack in originality they make up for in fun factor and their half an hour on stage flashes by. It also features a brief cameo by Dream Theater drummer Mike Portnoy who is obviously the band's biggest fan. They also deserve credit for their nerves for this is only the second UK show for a band who's major influences are all British and to play it at Wembley Arena is a nerve racking thing indeed but they succeed in winning many of the crowd over.

Some members of the crowd are here not for headliners Dream Theater but for Opeth, widely viewed as the pioneering leaders of today's metal scene. Some other members of the crowd look a little apprehensive as the Swedish behemoths take to the stage. These people have only heard about Opeth and look a little wary as if a vicious dog has just looked up from its bone to see that there's the possibility of fresh meat in their direction. Rather kindly Mikael Akerfeldt's crew start up with the all clean guitar and vocals 'Windowpane' but this is merely the calm before a storm and 'The Lotus Eater', introduced by Akerfeldt as "a masterpiece" and quite rightly so, shows what Opeth is really all about. They play a relatively soft set by their standards but there's still enough growling and shuddering grooves to strike fear into the heart of some onlookers. They are a formidable live act and I can't help but wonder why Dream Theater take them on tour as they come very close to blowing the headliners off the stage!

When Dream Theater do arrive however, for a short by their standards 90 minute set, they manage to match Opeth and more. Akerfeldt even joins them, providing the growls for opening epic 'A Nightmare To Remember'. Every solo, whether it comes from the keys or continuum of Jordan Rudess, the guitar of John Petrucci or even the bass of John Myung, is greeted with roards and gazes of wonder and astonishment. Singer James LaBrie is also on fine form, especially during the excellent 'The Mirror' and 'Lie'. Wembley is even treated to a special 'Percussive Nation' drum off featuring the drummers from all four of the bands as well as an extended version of the classic 'Take The Time' with extra Petrucci outro soloing. The band encores with the stunningly epic 'The Count Of Tuscany' and the show is over all too soon. With a suggestion of a return next year Dream Theater are gone and an incredible evening of, for the most part, progressive entertainment comes to an end.

Unexpect - 5/10
BigElf - 7/10
Opeth - 9/10
Dream Theater - 9/10

Opeth setlist:
Windowpane
The Lotus Eater
Harlequin Forest
April Ethereal
Deliverance
Hex Omega

Dream Theater setlist:
A Nightmare To Remember
The Mirror
Lie
Jordan Rudess Keyboard Solo
Prophets Of War
Wither
The Dance Of Eternity
Percussive Nation 2009
Take The Time
---Encore---
The Count Of Tuscany

Porcupine Tree - London Hammersmith Apollo - 9th October 2009

2009-10-10T03:54:00.001-07:00

Porcupine Tree have been waiting a long time to play venues this big, venues that truly fit their grandiose model of modern progressive rock. Led by arguably the most creative man in music today, Steven Wilson, they are promoting their fine new record 'The Incident' with a world tour that has already stopped off at various venues across the USA. This however is something of a homecoming show for them. Wilson was born in Kingston-Upon-Thames and raised in Hemel Hempstead while keyboard player Richard Barbieri was also born in Britain's capital. Porcupine Tree have also managed to sell out this gig, which is undeniably impressive for a band well under the mainstream radar, although they may have been helped in the fact that the seats are all in for tonight's gig. This gives the show a rather static and uninvolving feel to it, especially during the first half (which is a full performance of the 55 minute song-cycle that is 'The Incident').

However the performance of the band, augmented live by guitarist John Wesley, is incredible. Every single note is peformed perfectly and Wilson's vocals are also spot on. The show also comes backed by some stunning visuals from acclaimed Danish artist Lasse Hoile, ensuring that even when the band is noodling through the quieter bits that there is still plenty to look at. The audience are clearly, for the most part, enthralled, despite the occasional person getting up to go to the toilet (an event which is always extremely conspicuous at an all seated gig). The epic that is 'Time Flies' probably gets the best reception, particularly Wilson's solo which would fit in perfectly well amongst Gilmour's finest. After the wonderfully melancholic 'I Drive The Hearse' the band leave the stage and take a ten minute break before returning with some of their best loved tracks from the last few years. 'The Start Of Something Beautiful' is followed swiftly by an abbreviated 'Russia On Ice' and an excpert from 2007's epic 'Anesthetize'. This three song run represents the highlight of the show and by the time the band exit from the stage once more with 'Bonnie The Cat' the audience has become fully aware of Porcupine Tree's excellence as a live act, if they weren't already.

An encore arrives in the form of 'The Sound Of Muzak' and 'Trains', which of course get its customary huge singalong reception. With the promise of another London gig next year ringing in their ears a load of very happy progheads (an interestingly diverse crowd with an age range from early teens to 65+) leave Hammersmith with big grins on their faces. A major feather in PT's live cap.

Porcupine Tree - 9/10

Setlist:
The Incident
i. Occam's Razor
ii. The Blind House
iii. Great Expectations
iv. Kneel and Disconnect
v. Drawing the Line
vi. The Incident
vii. Your Unpleasant Family
vii. The Yellow Windows of the Evening Train
ix. Time Flies
x. Degree Zero of Liberty
xi. Octane Twisted
xii. The Seance
xiii. Circle of Manias
xiv. I Drive the Hearse
---Intermission---
The Start of Something Beautiful
Russia on Ice (first half)
Anesthetize
ii. The Pills I'm Taking
Lazarus
Strip The Soul / .3
Normal
Bonnie The Cat
---Encore---
The Sound of Muzak
Trains

PORCUPINE TREE - The Incident

2009-09-15T08:46:00.000-07:00

Porcupine Tree are a band that the majority of people haven't heard of...yet they are one of the most 'important' bands to emerge from the UK in a long time. Over the last fifteen years they, with the guidance of visionary Steven Wilson, have modernised progressive rock by adding a dash of everything that's happened to music in the days since the genre's heyday. Their latest album, "The Incident", is their tenth and is the culmination of their aforementioned fifteen years of experience as a band. This is an album that combines everything Porcupine Tree have ever thrown into their music with dashes of industrial, metal, psychedelia and Radiohead littered throughout the record. This could be seen as the end of an era for the band before moving off in new directions.

It is noticeable to those familiar with Porcupine Tree's discography how there is a lack of anything especially 'new' about "The Incident". Whereas the previous nine Porcupine Tree albums each added something to the band's sound this does not, preferring instead to focus on blending sounds to create something close to the definitive 'Porcupine Tree' record.

What is truly remarkable about the album's first disc, consisting entirely of the fifty-five minute song cycle "The Incident" is that the songs are so memorable. The likes of "Blind House" and "Drawing The Line" are catchy enough to become radio favourites, they won't of course because commercial radio only plays things from the Top 40 but that's not the point. Even short interludes such as "Great Expectations" and "Your Unpleasant Family" etch themselves into the brain on first listen. Wilson has always been a fantastic songwriter above all else and he really does prove it here with the epic eleven minute "Time Flies" sounding accessible enough for the mainstream audience of today to not have a heart attack while listening to it. Wilson's skills are further emphasised on the second disc which, despite being slightly weaker than the rest of the album, features four very decent songs with "Flicker" and "Remember Me Lover" being the highlights.

It is important to recognise however that Wilson is not the only genius in Porcupine Tree. Richard Barbieri's keyboard textures may often be subtle but they are key to the band's sound as are Colin Edwin's often overlooked basslines. Gavin Harrison's drumming meanwhile is sure to gain him further recognition, having already been recruited by Robert Fripp to join King Crimson as a second drummer. Most importantly of all however is how well the four work as a group, never jostling for the limelight but always capable of filling it if the need arises. It is perhaps this cohesion as a group that makes "The Incident" a fine record. At the end of the day it does not need to contain new influences because when a combination of your previous influences is this good then why bother risking messing it up?

Key Tracks: Blind House, Incident, Time Flies.
(9/10)

Biffy Clyro (+ Oceansize) - Edinburgh Corn Exchange - 21st August 2009

2009-08-27T02:15:00.000-07:00

Biffy Clyro are back. The unexpected success of fourth album 'Puzzle' means the Ayrshire trio have not only been able to continue with their career but also record their fifth record in LA (it's alright for some) with producer GGGarth Richardson (RATM, RHCP) at the helm again. The success of single 'Mountains' in the gap between albums also increased the band's profile to the point where selling out venues as big as Edinburgh Corn Exchange has become the norm. It's clear from the amount of Biffy t-shirts being worn around the, extremely sterile, venue that the band are preaching to the converted. However the band's recent exposure (they appeared on the cover of NME ffs!) appears to have attracted a new group of fans, indie scene kids are littered about the place as their parents have decided it's safe for them to be out on their own on a Friday...at a gig by "that Mountains band". Annoying, but bearable...for the most part.

Mancunians Oceansize are lost on the newest Biffy converts in the crowd. The fact that they are probably the most talented band to come out of Britain in many a year does not appear to register (nor does the fact that they are great mates with the Biff themselves). They play a blinder of a set (when don't they?) but it is sadly spoilt by a crowd who goes so far to throw thing at them and boo throughout the set. Luckily Mike Vennart is a good enough frontman to rise above this sort of thing and he merely gets on with things, debuting two new songs ('Legal Teens' and 'Build Us A Rocket - You Rocket-Building Cunt') along the way. Mike ends the set screaming his lungs out as per usual and the majority of the crowd looks shocked as if the man has just decapitated a chicken or something...idiots.

Biffy Clyro only jetted in from the USA a day or so before the gig and they do seem a little rusty at times throughout their set. New single 'That Golden Rule' is the best song they've written since pre-'Puzzle' times however and is even better live than in the studio. Meanwhile the other new songs played, 'Born On A Horse' and 'Bubbles' are awkward enough to bemuse those in the crowd who have not heard the band's greatest albums 'The Vertigo Of Bliss' and 'Infinity Land'. For some reason unbeknownst to everyone the band does not include a single song from 'Vertigo' in their set (ridiculous) but then judging by the lack of reception some afford classics like '57', 'Joy. Discovery. Invention' and 'Glitter And Trauma' perhaps this is a good thing...don't want to scare the little kiddes after all. The die-hards in the crowd sing along to every word and are joined by the rest for 'Mountains' and closer 'Living Is A Problem Because Everything Dies'. The set seems a little short but then the band do have to be in Chelmsford the following day so their departure at around twenty to eleven is fair enough. They are probably aware that this will not go down as one of their greatest shows, Oceansize are probably slightly better on the night but this is Biffy Clyro we are talking about...so that does not make it bad in any sense of the word.

Oceansize (8/10)
Biffy Clyro (8/10)

Biffy Clyro played:

That Golden Rule
57
Who's Got A Match?
Joy. Discovery. Invention
Born On A Horse
A Whole Child Ago
The Kids From Kibble And The Fist Of Light
Love Has A Diameter
Glitter And Trauma
9/15ths
Bubbles
Now I'm Everyone
Machines
Justboy
Get Fucked Stud
Mountains

--Encore--
As Dust Dances
Living Is A Problem Because Everything Dies

Pearl Jam (+ Gomez) - The O2 Arena - 18th August 2009

2009-08-19T01:16:00.001-07:00

I've waited a long time for this, and by the looks of things so have quite a few others in the audience tonight for this, Pearl Jam's first UK headline show since a date at Wembley Arena in June 2007. Pearl Jam were always the odd ones out of the early 90's grunge scene. Nirvana were all punkish teenage angst but Pearl Jam were, and still are, so much more than that. Eddie Vedder's lyrics gave them a more intellectual side while the music was as clearly influenced by classic rock like The Rolling Stones and The Who as it was The Melvins or Pixies. They struck a chord though and arguably became the biggest American rock band of the nineties. It's perhaps unsurprising therefore that the largest proportion of the audience tonight is in their mid thirties, having grown up listening to 'Ten'. Many have come to London for this show from abroad, desparate to see their favourite band who have not come to see them in their respective countries across Europe.

The anticipation for the headliners' set means that Southport quintet Gomez play to a sparsely populated O2 at half seven. They're folk tinged indie earned them a #2 album in 1999 but the majority of the audience tonight who have heard of them probably assumed they'd split up years ago. They are an intriguing live prospect, if a little static and uninvolving. They're merely a diversion though, this isn't a gig that you're persuaded to shell out on based on a support act after all!

It's quarter to nine when Pearl Jam arrive on stage, a simple wave backdrop behind them. This isn't a band that needs to rely on a lightshow or any other arena gimmicky; this is a band that is fully at home in the world of live performance. They start with the rarely played closer from 'Ten', 'Release'. It is a beautiful opener, quiet and methodical, played with the arena in almost total blackness. The band then rips into the punk monster that is 'Animal' and continue, with just a few brief pauses for a further ninety minutes or so. New songs 'The Fixer' and 'Got Some' are amongst the songs played. It's difficult to assess their quality, although recent single 'The Fixer' is better in a live setting than on the radio. Some songs get a better reaction than others, not everyone knows the likes of 'Insignificance' from 'Binaural' or 'Life Wasted' from 2006's self titled album. 'Why Go?' and 'Black' however gets a huge reception, everyone inside the O2 is screaming the words back at the band and every Mike McCready guitar solo is rapturously received. In fact it takes seeing him play in the flesh to appreciate how good a player McCready truly is, if a little unorthodox. The band leave the stage after 'Blood' but they aren't gone for long.

Another new song 'Supersonic' announces their return to the action, incidentally the first time the song has been played live. Keyboardist Boom Gaspar then leads a superb cover of The Who's ultimate classic, 'Love Reign O'er Me'; rather sadly around half the crowd seem not to know the song and need to do some serious brushing up on their rock history! For those who are familiar it is a highlight of the show and when followed by 'Do The Evolution' and the huge singalong that is 'Alive' spirits are raised to a real high. Pearl Jam still are not done however. A further encore arrives, beginning with 'Better Man' and ending with a double whammy of 'Porch' and 'Yellow Ledbetter'. Pearl Jam have graced the O2's stage for nearly two and a half hours by the time they leave, with extended jams thrown in for good measure during several of the later songs they play. The band clearly enjoyed this show more than most, they stayed well past the scheduled eleven o'clock finish time. This is not a band that do things by halves....and thank goodness for that!

Gomez - 6/10
Pearl Jam - 10/10

Pearl Jam played:

Release
Animal
Corduroy
Why Go?
Elderly Woman Behind The Counter In A Small Town
Immortality
The Fixer
Even Flow
I Got Id
Rats
Got Some
Whipping
Light Years
Insignificance
Black
Life Wasted
Blood (Atomic Dog)

Supersonic
Hail, Hail
Footsteps
Love Reign O'er Me
Do The Evolution
Alive

Better Man (Save It For Later)
Crazy Mary
Leaving Here
Porch
Yellow Ledbetter

Sonisphere 2009

2009-08-03T11:39:00.000-07:00

1st-2nd August 2009, Knebworth House

The grounds of Knebworth House are known as a historic music venue having played host to the likes of Led Zeppelin, Pink Floyd, Genesis and Queen in the past. This year however it was announced that Knebworth would play host to the UK leg of a new travelling European rock / metal festival, Sonisphere. Having stopped off in the Netherlands, Germany, Spain, Sweden and Finland the festival arrived at it's final destination with an extended lineup, as the Knebworth leg of Sonisphere featured two days of music in comparison to just the one in the other European nations it visited. The festival also has a promising staggered staging approach, the two main stages are scheduled so that all the band on both stages can be seen by everyone with just a short walk across the main arena necessary. For me it's fantastic to have a festival at Knebworth as I live just 15 minutes away from the site and luckily enough I managed to get half price tickets to the debut of the UK's latest major festival.

SATURDAY
Due to a lack of punctuality the first band I witness at Sonisphere 2009 is New York alternative rockers Taking Back Sunday (4/10). They're one of the quieter bands on the bill and aren't the most impressive start to the weekend. Lead singer Adam Lazzara's awful on-stage banter and annoying microphone chucking doesn't help a band that may sound quite good on record but don't really have enough about them to succeed live. Next up for me is York metalcore act Glamour Of The Kill (6/10) in the Bohemia tent. They're surprisingly good although frontman Davey Death spoils the show slightly with immature comments about girls in the crowd and by asking for "the biggest wall of death ever seen", which is a wee bit sad. Anthrax (9/10) have always been behind Metallica and Slayer in my thrash metal rankings and due to the fact their latest singer Dan Nelson left the band just two weeks ago there's a slight tension in the air before the band begin their main (Apollo) stage set, featuring the one-off return of former vocalist John Bush. I, and everyone else, need not of worried for this an awesome set. The crowd go wild for the likes of 'Caught In A Mosh' and 'I Am The Law' becomes the anthem of the weekend. The crowd is extremely thin on the ground in Bohemia for Derry's finest in Fighting With Wire (8/10). This is a shame because, despite early sound issues, Cahir O'Doherty and company are on fine form with the frontman even taking the time to perform something akin to a stand-up comedy routine in between songs. Originally the next band on my timetable was Coheed & Cambria but they've got stuck on a ferry and instead Bohemia beckons again for a set by the promising Glaswegians Twin Atlantic (7/10), a band I've followed for a while. They are akin to a slightly poppier version of Biffy Clyro and their set mainly comprises of tracks from upcoming mini-album Vivarium, with 'You're Turning Into John Wayne' being a particular highlight. They close with two tracks from their excellent debut EP 'A Guidance From Colour'. The title track sees guitarist Barry McKenna break out his cello while 'Audience and Audio' seems to impress the crowd, many of whom will leave with a new band to look out for. Next up is a trip back to the main stage for the godfathers of heavy metal in Heaven & Hell (8/10). Ronnie James Dio, Tony Iommi, Geezer Butler and Vinny Appice are better known collectively of course as Black Sabbath but due to various legal issues related to 'Paranoid' (d'you get it?) ex-singer Ozzy Osbourne the band are not able to use that legendary name. The set may lull slightly in the middle but the quality of what is being played is undeniable and the riffs to classics such as 'The Mob Rules' and 'The Time Machine' are still as powerful today as they ever were. Dio's voice is also still in fine fettle, especially on new song 'Bible Black' and closer 'Heaven & Hell'. I also have Mr. Dio to thank for my free Saturday ticket, although that has in no way affected the review! A final trip to Bohemia for the day brings the reward of, in my opinion, one of the world's greatest and most underrated of bands in Mancunian art rock collective Oceansize (10/10). They only have half an hour to play but they make the most of it. Everyone in the room is surely struck by how tight they are as a band as well as the power and genius of their music. Frontman Mike Vennart seems to be having a great time, thanking Sonisphere organisers for "having the balls" to book them and thanking Michael Jackson as his death and therefore cancellation of his O2 Arena gigs has apparently allowed them their "first choice of sound engineer". Closer 'One Out Of None' is especially good and ends with Vennart trying to destroy the mic stand while guitarist Steve Durose tries to get out of the way!

Because I used to love them (didn't everyone at some point?) and because the friend I'm with still does love them I head from Bohemia to the main stage to see headliners Linkin Park (3/10). Sadly their set is a major disappointment. It could be that they are just having a bad night, I hope for their sake that this is the reason for their lifeless set. They have some immense songs but there is no energy in the performance to speak of. The band looks bored of their most famous anthems such as 'Numb' and 'What I've Done'. The only band member who looks even vaguely into it is MC/guitarist/keyboardist Mike Shinoda. His brief acapella version of politically charged 'Hands Held High' is the highlight of the set...and it's only a minute and a half long! The crowd is pretty static as well although there are enough Linkin Park fanboys and fangirls in the audience to make the gig at least appear to be going well. The encore begins with a short set from singer Chester Bennington's new band Dead By Sunrise (1/10). This does not go particularly well, mainly because the songs are dreadful. They gain a mark out of ten purely for the fact that I quite like their name and because I feel sorry for them. Linkin Park then return for a short encore, including new single 'New Divide' which is one of the best songs they play, because they don't look bored out of their minds with it yet. The set ends early and I think the band know they've not lived up to expectations. A shame and I wish I'd stayed in Bohemia for Rolo Tomassi and Fucked Up instead.

The Saturday ends there as Bohemia is expected to be packed for Thunder's last ever show and a following set from The Wildhearts...and I need to save my energy for the next day!

SUNDAY
I'm there bright and early on Sunday morning, well before midday at any rate, in order to catch my gothic doom metallers of choice on the second (Saturn) stage, Halifax's Paradise Lost (7/10). They are a decidedly acquired taste and a good deal of the crowd are not convinced but for those in the know or who enjoy the quartet's style of music the set is enjoyable, even though it could do with true classics like 'Embers Fire' and 'True Belief'. Their half hour set is followed on the main stage by veteran industrial rockers Killing Joke (5/10). While Jaz Coleman and co do their best they don't quite manage to succeed in winning over the crowd. They may well sound better in different surroundings but for me and, I think, the majority of the onlookers, they do not fit at Sonisphere. They are followed at the other end of the arena by even more veteran classic British heavy metal band Saxon (6/10). They put on a good show and get the crowd going but I can't help feeling they are just a poor man's Iron Maiden. They are followed on the main stage by a band that show how much more destructive and, er, heavy the genre of metal is these days. Lamb Of God (6/10) are all grooves and growled vocals from frontman Randy Blythe. Sadly the show is spoilt somewhat by the sound (the only sound gripe I have from the whole weekend) as Blythe's vocals get lost in the pounding wall of sound the band is producing. Blythe also suffers somewhat from the "American metal frontman swearing syndrome" but at least he does it with a bit of style and his band have the seriously heavy chops to back it up. Mastodon (9/10) are at the other end of the arena next and I get across in time to get right to the front. They're probably the best newish metal band in the world and their skill in playing their complex monsters of songs live. Their set is too short but every Hinds solo is perfectly executed and Troy Sanders puts huge amounts of energy into the performance, even managing to break his bass strings during the last song.

The worst kept secret of the festival is that Machine Head (7/10) are Sunday's "Special Guests" having originally dropped out of the festival after the massive pile of gooseberry that are Limp Bizkit were added. Sadly their set is spoilt a little by frontman Robb Flynn going on and on about wanting to break the record for most amount of circle pits ever seen at a festival. If he just shut his mouth and got on with playing some of the band's best songs the set would be a gargantuan powerhouse but because he takes so much time out to talk about pits and to make a rubbish speech about how much he loves their fans (supposedly). They do get the crowd going however, that's true enough. There are I'd estimate a good 15 circle pits around the place and I just about manage to avoid being caught in one myself, they're ok at the best of times but when you've been standing up almost exclusively for the past 24 hours they're a bit tiresome...and I don't want to lose my glasses like I nearly did at Hundred Reasons back in April. The highlight of Machine Head's set is the anthem that is 'Halo'. It is by far their best song and the chorus that echoes around Knebworth's grounds sounds so massive that it drowns out anything else for a time.

Machine Head being followed by Feeder (7/10) isn't something that makes sense when you really think about it. As Grant Nicholas and Taka Hirose's pop infused alternative grunge rock outfit are one of my favourite bands however I'm not complaining. They're a band I, and it seems several other members of the crowd, grew up with. The likes of 'Insomnia' and 'Just A Day' are well received, as is new song 'Sentimental'. They even play the gloriously rubbish 'Godzilla', which is quite fun live and the Nirvana cover 'Breed'. I do wish they'd sometimes play less predictable setlists though, I've heard some of these songs live at least 5 time! A break is in order after Feeder in which fish and chips are consumed (£5 constituting a festival bargain). Then, appearing slightly late because Limp Bizkit overran (an insult to the many brilliant hard-working bands around the world), the grunge legends that are Alice In Chains (10/10) take to the stage. They are, of course, sadly without deceased original frontman Layne Staley but his replacement William DuVall has a fine voice and, combined with guitarist and co-frontman Jerry Cantrell, the vocals soar along providing the crowd with plenty to sing during the likes of 'Dam That River' and especially 'Would?'. New songs 'A Looking In View' and 'Check My Brain' are also promising for the new record, due in September, and DuVall also gains bonus points for getting into the crowd towards the end of the set. After this the emotions run high for Nine Inch Nails (10/10). It is, for at least the forseeable future, their last UK performance. Trent Reznor pulls it out of the bag with a set comprised of intricate, mostly quiet and understated, songs. A large portion of their set is instrumental and the hits that some restless crowd members appear to be expecting don't appear. It is my first time seeing them and if it is my last then it is a sad thing but their set, which only lasts about 50 minutes due to some slight overrunning earlier, is a wonderful thing. 'Hurt' is everything live I imagined it to be...and more. Trent Reznor is very subdude and I could swear there were tears in his eyes during the heart-achingly beutiful 'Something I Can Never Have'. Due to the occasion they should have had at least an hour and a half and in fact I cannot help but feel that they would have been superb Saturday headliners in place of the disappointing Linkin Park.

I spend over an hour waiting for Metallica (10/10) to make sure I get a decent place. I've been waiting what seems like an eternity to see this greatest of all metal bands live and they are worth the wait. Every song is performed perfectly and the atmosphere is top notch. There's a lack of breathing room in the crowd but the likes of 'Fade To Black', 'One' and 'Master Of Puppets' are screamed back at the band with enough energy to cause a minor earthquake. The band is clearly loving every second of playing at Knebworth and throw in a cover of Queen's 'Stone Cold Crazy' for good measure. The atmosphere at the end of the show is made truly unforgettable by a chorus of 'Happy Birthday' for James Hetfield. He is then covered in custard pies and silly strings by a mixture of friends and family. It is a special moment, once in a lifetime stuff, from a once in a lifetime band. What better way could there be to close out a fantastic weekend of rock at Sonisphere Knebworth 2009?