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
Monday, 3 May 2010
Tuesday, 6 April 2010
Opeth - London Royal Albert Hall - Monday 5th April 2010
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
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
Saturday, 3 April 2010
Scream! Shout! Say Nothing - Hitchin Club 85 - Friday 2nd April 2010
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
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
Thursday, 25 March 2010
Frank Turner - Camden Roundhouse - Wednesday 24th March 2010
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
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
Tuesday, 16 March 2010
Karnivool - Highbury Garage - Monday 15th March 2010
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
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
Friday, 12 March 2010
Katatonia - Highbury Garage - Thursday 11th March 2010
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
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
Thursday, 4 March 2010
Twin Atlantic - Charing Cross Borderline - Wednesday 3rd March 2010
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
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
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