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Man Must Die + The Rotted + Sworn Amongst
It's a Sunday so things are a little quiet in Sheffield, but they
don't stay quiet for long. In Corporation's small room playing to a
raucous handful we have braved the modern terrors of a reduced bus
service and meagre shop opening times to catch some metal.
Thrash metal from the deepest darkest Hull is brought to us by Sworn
Amongst, who battle against some sound difficulties to bring metal
that doesn't sound a million miles away from Lamb of God, maybe mixed
with Testament. Original might not be the word to choose, but
"headbangaliciousfun" is. While they may not come across as the most
professional act they give everything required, and play with gleeful
enthusiasm in spite of the sparse crowd numbers. Playing in support of
their recent Severance album we get treated to 'Numb' as a closer
before they retire to a deserved chorus of cheers.
London's The Rotted were last here to a far bigger audience on the
Alestorm tour, but tonight it's clear that the gig space isn't going
to get anywhere near capacity. I honestly can't understand why because
they are fucking incredible. Most of the songs come from their new
incarnation and taken from their "debut" Get Dead Or Die Trying, which
includes tracks of brilliant cockney grimness like 'the Howling' and
'the Angel of Meth.' We are treated to new tracks from the Anarchogram
EP, with an absolutely stonking cover of Motörhead's 'Iron Fist' and
two new brilliant songs 'Dawn of a New Error' and 'Drink Myself to
Death'. It's a little frustrating one of the hottest bands in English
metal at the minute isn't playing to packed rooms. But such is life, I
think to myself as we dance round in a death metal conga-line to 'the
Body Tree'. That's right. DEATH METAL CONGA-LINE!
Following nearly wetting myself in the good way to the punk-death
metal hybrid of 'A Return to Insolence' a brilliant set rounds off
with 'Nothin' But a Nosebleed.'
Fantastic, furious and fun.
Sworn Amongst blast some Glaswegian brutality at us next but after the
Rotted they seem painfully average and painfully...painful. Their
sound relies on a technical flurry of scraping notes and riffing which
doesn't work well with the muddy sound, and the mix on the bass makes
it extraordinarily loud. So loud that my colleague Joe Richards for
the first time over the years I've known him wishes he had ear plugs.
They're technically proficient, and there's no denying they sound evil
and nasty, but not necessarily in a good way. Vocalist Joe McGlynn
aggressively tries to instil action and gets the four kids at the
front pitting, but everyone else politely nods their heads despite his
attempts. They finish up a little early and I must say on behalf of my ears that I'm not sorry.
Tonight belonged to the Southerners.
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Green Day + Joan Jett and the Blackhearts + Frank Turner
Since 9am, fans had been waiting outside Lancashire County Cricket Club, so they could get a close view of their idols. The queue built up quickly, and 4pm (the door opening time) couldn't come sooner, with the immense heat making it uncomfortable for the largely black clad crowd.
First on the bill was British folk-punk singer/songwriter Frank Turner. The ex-Million Dead frontman kicked off his set with the entirely acoustic 'The Real Damage', with his backing band making an appearance half way through the song for the next track in a somewhat unprofessional manner. The set comprised of mainly singles, and the sound was on par with studio versions. Not many knew the words to his music, and his sound didn't seem to impress the excited youngsters that had already waited all day to see their favourite band.
Joan Jett and the Blackhearts were the second support act, with an 80s rock and roll sound and a true feisty frontwoman that the younger GD fans were unable to appreciate. Opening with 'Bad Reputation' was a good choice, everyone knew it (thanks to Shrek), but as far as many were concerned The Blackhearts were just standing in the way between them and their heroes. They played many of the popular tracks, but the unresponsive crowd wouldn't even join in when asked to clap or told the words to sing along. Miss Jett dedicated 'Victim Of Circumstance' to Mike Dirnt, getting everyone's attention for a moment, then losing it again once they started playing. 'I Love Rock And Roll' went down well, but it wouldn't have made any difference whether it was a live performance, or a recording played through the stage speakers. A fantastic set from a mature frontwoman, shame the immature Green Day fans didn't have respect for an obvious influence on the band they adore so much.
It had already been a long day, with many worrying if they'd be able to get another day off school to recover, when a large pink bunny entered the stage, stumbling around, downing full bottles of beer, and scratching himself inappropriately. This meant that the legendary Green Day would be taking to the stage soon.
'Song Of A Century' was blasted through the monitors, as Mike D and Tre Cool entered to wild screams, but nothing could prepare the ears for the raucous sound made when Billie Joe Armstrong made his entrance. As soon as the frontman started playing, everyone in the arena was hanging on his every word and motion. The setlist was cleverly split into 3 sections; starting with a selection from 21st Century Breakdown, opening with the title track. A small girl was dragged up on stage for 'East Jesus Nowhere'- and brilliantly collapsed, as requested by Billie Joe, as an explosion ended the song. Next came tracks from American Idiot, mainly the singles, as well as 'Give Me Novacaine' and 'Are We the Waiting'.
A positive surprise was the large amount of older tracks played, including some that haven't been involved in live performances for quite a few years, especially 'Nice Guys Finish Last'. There was the usual covers of famous riffs, with AC/DCs 'Highway To Hell' leading up to 'Brain Stew'.
As Billie Joe rolled his eyes from side to side, the crowd went crazy, as this indicated huge hash anthem 'Basket Case'.
The highlight of the show had to be 'King For A Day'- not only is it an exceptional song, but it also meant the band dressed up, and indulged in a few Green Day-fied covers ('Teenage Kicks', 'Satisfaction', 'Champagne Supernova', 'Hey Jude'), but the most memorable part was Lulu's 'Shout'- in which Billie Joe swapped places with Tre (aka Christina Aguilera according to BJ) who, clad in a floppy hat and bra, cockily swaggered around the stage dancing and singing the same one line of the song again and again.
Encore One consisted of two more singles from American Idiot, while Encore Two (yes, there were two) was simply 3 of the bands ballads. The perfect cool down for a hugely energetic, fun filled evening.
As much as I hate it when it's all about the frontman, it's difficult not to be with Green Day. Billie Joe oozes confidence and mesmerizes all with his stunning showmanship. This, along with all the fireworks, explosions and stage decorations make for an unbeatable experience, and the true meaning of a live show.
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Deftones + Steak Number Eight
After 4 years, the new offering from Deftones (Diamond Eyes) is finally out and to promote this the experimental metal band from Sacramento is out on tour- Sergio Vega handling bass duties, taking over from Chi Cheng who is still recovering from his 2008 car accident.
The AB is sold out tonight and the 1,800 strong crowd are very excited to be there, all the more due to the fact that Deftones is a band well known for being better in smaller venues than at festivals.
A post-metal experimental Belgian band start the night with Steak Number Eight taking to the stage. The band recently played Groezrock festival, but their performance, although interesting, was nothing special. However playing before Deftones for a young band is always going to be difficult.
At 8.45pm the lights are turned off, the audience applauds and whistles and it's time for Deftones to go on stage for 90 minutes of concert.
To start the show, Deftones play 3 songs of the new album ('Rocket Skates', 'Diamond Eyes' and 'CMND/CTRL') and it's great to find the same loud and modern sound works live as well as on the album.
The band looks happy to be welcomed by the people and the crowd are equally excited. The motivated crowd sings and moves to the songs: 'My Own Summer (Shove It)', 'Lotion', 'Elite', and the amazing 'Passenger' original sung with Tool's singer Maynard James Keenan, from White Pony.
It's great to see Sergio on the stage, now he is a real member of the band and he looks like he's having a good time. Like the others members he's got a good energy on stage. Abe is always amazing, an awesome drummer, always playing to perfection!
Chino was even more motivated than the last time I saw him, jumping about everywhere. The setlist is well put together, with a variety of songs including 'Around the Fur', 'My Own Summer', 'Be Quiet and Drive (Far Away)', as well as 'Change (In the House of Flies)' and 'Birthmark'. The new songs are well chosen and the crowd already know the lyrics! When the end is near approaching, 'Lotion' & 'My Own Summer' especially make the crowd go crazy.
After a big ovation, to close the show, Deftones play 2 more songs, 'Root' and '7 Words' - a really the good choice to finish the concert. All the people in the venue were clearly happy to be there and pleased to see this "rare" performance from the band.
http://www.myspace.com/deftones
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The Flatliners + The Human Project + The Living Daylights + Acid Drop
The Brudenell Social Club is a small venue, in the middle of Leeds' student district, hidden behind the larger Royal Park pub. Quite an unusual venue for an overseas band, but has an excellent sound compared to other pubs and clubs in the city.
First up were Acid Drop, local lads, who despite being a guitarist short (his wife had gone into labour), pulled off a brilliant set of straight-up punk rock. Stand out tracks were 'I Will Not Forget You'- a heartfelt dedication to a close friend that took his own life; 'Winston Smith'- the bands ska-iest tune, featuring the local legend that is Stash (unfortunately the crowd didn't know the Dead Pets, so couldn't appreciate his presence); and 'Societies Rejects' a true middle-finger-in-the-air punk anthem. There wasn't much of a crowd for the Drop, and their sound didn't really fit in with the other bands on the bill, but they still had a laugh as usual.
Next to take to the stage were Lincoln's The Living Daylights, a band who formed to "bring Lincoln's punk scene to the world". Live though, they seemed to be more melodic hardcore than punk. Their sound consisted of heavy melodies, occasional double vocals and the odd breakdown, which seemed to go down better with the (slowly) increasing number of The Flatliners fans. They played a mix of old and new songs, including 'Melancholy' from 2008's Ways To Escape, and 'New Roads' from their as yet unreleased new album, but most of the crowd didn't seem to know them. They impressed the majority and went away with a few new fans, even though they didn't seem as fun as the previous band and all their songs sounded similar.
By now, the venue had filled up nicely, just in time for The Human Project. Another local band, this one featuring Random Hand's ex drummer, Joe Dimuantes. Now, Joe has ditched the sticks for a 4-string, and ditched the skacore for a more typical hardcore punk sound. Straight away, there was a Rise Against feel to the band, mainly because vocalist Jonny sounds a lot like Tim McIlrath. They were punkier than the band before them, but somehow didn't prove to be as popular. They also seemed friendlier, and chatted more between songs, including the singer delivering an odd anecdote about his bowel movements (you had to be there). Even though they weren't the most interesting band to see live, they were more entertaining and human than The Living Daylights, and appeared to be doing what they do for all the right reasons.
Out came the headliners, The Flatliners. This was the Canadian quartet's third time playing in Leeds, and their first time headlining, perhaps explaining why they were playing to less than 100 people. They opened the set with 'Mother Teresa Chokeslams The World' from 2007's The Great Awake. So far, the crowd didn't seem very lively. The second song was a punkier offering, livening the crowd up a touch. Vocalist Chris sounded more screamy live than on record, which worked better with the new songs. Not long into the set, Chris decided to declare he was nauseous, blame it on a dodgy take-away, and warn the crowd he may throw up on them any minute (as throwing up on the stage would make it slippery!). On the setlist, was a mixture of their entire back- catalogue, but mostly songs from 2010's Cavalcade. The highlight of the set was one of the ska infused numbers from 2005's Destroy To Create, 'Fred's Got Slacks'. This, as well as the other ska songs, didn't appeal to the fans as much as their newer material. They closed with 'Run Like From' from their 2009 split with The Snips. Overall, The Flatliners weren't very enthralling to watch, and other than 1 rather enthusiastic fan, nobody seemed excited by the band they'd paid to see. At some points it was hard to tell where one song finished and the next started. It was nice to see them high-five, shake hands and chat to fans afterwards though.
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Kyte + Tomorrow We Sail + Glissando
I must admit, I had only heard a little of Kyte before I went to see them live. From what I had heard, I liked, so I was a quite excited and interested to see what they would be like live, and in a small local venue.
The first band to adorn the lamp-lit stage was Glissando, a male and female duet who normally tour as a band, they told us. Their sound was so mellow; the attendees took to sitting on the floor in a bohemian type fashion and proceeded to be lured into a melodic spell. The female singer had an angelic, sharp voice that accompanied the keyboard and guitar perfectly.
The next band, Tomorrow We Sail, was a great deal livelier but still soft enough for the gig-goers to remain sitting on the floor. They are a six piece band and include bass, guitars, keyboard, cello, violin and drums. Definitely a must see. The band fit together perfectly in a muddled sort of way, and the male vocals alone are powerful, however when the band did a harmony in the song “Beacons”, the whole room seemed to come together in one big musical trance.
And finally, the headlining band, Kyte, took to the stage. Opening with IHNFSA, from their new album, Dead Waves, I was instantly mesmerized. The band, comprising four members, Tom (guitar and keyboards), Scott (drums), Ben (bass guitar) and Nick (vocals), brought to the stage a wave of electronic rapture. It was bliss. These were songs made for loved ones and good times. It was ambience at its best. The band exudes a down-to-earth, modest charm and had the lovely touch of having the bass player, Ben Cox, selling merchandise at the end (I made sure I got a free badge, while my friend got herself a T-shirt). My only criticism? I wish they’d played a longer set. I could have listened to Kyte for hours.
www.myspace.com/kyteband
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Dance Gavin Dance + In Fear and Faith + The Ocean Between Us
Upon arriving at the venue there was some confusion over who was actually on the bill tonight. Like many others I was disappointed after hearing Asking Alexandria had dropped out of this tour, but super excited when it was announced they were to be replaced by Azriel... who unfortunately then also had to pull out, after their lead singer David lost his voice. A promoter’s nightmare no doubt, but we still have three bands to enjoy tonight.
First on the stage are the Leeds boys, The Ocean Between Us. I don’t know if they were a last minute addition to the line-up or not, but it’s good to see a small local band like these guys sharing the stage with the touring American bands.
I have seen TOBU play a few times now and tonight wasn’t the best set for them. Judd’s vocals were lost in a mic that didn’t seem loud enough, then halfway through the third song Ben’s bass strap decided to give way. Never the less the band gave it their all during 'Begin The End' and managed to get a few heads nodding in the crowd.
After a short sound check In Fear and Faith appear on the stage. I honestly didn’t know what to expect from the American six piece but I was totally won over by their set. Admittedly the vocals weren’t quite up to scratch due to both singers recovering from illness. This however didn’t affect their great on stage presence and performance.
Personal highlight has to be there cover of Coolio’s 'Gangster’s Paradise', and judging by the crowd’s reaction it’s a hit with everyone.
Finishing up with a ‘Taste Of Regret’ In fear and faith leave the stage leaving me wanting more. They definitely have a new fan here.
For some reason there is a delay while Dance Gavin Dance set their gear up, but Will Swan (guitarist) takes the time to come out and talk to the fans. For the youngsters around me it has clearly made there day, one lad even says to his mate: "this is the best day of my life", after giving him a handshake. Unfortunately this talk has the opposite effect on me, as it's obvious he has had a few too many pre-gig refreshments. Once the band finally appear this seems to be the case for the other four members, and the first few songs seem to be a little thrown together, with the odd notes missed here and there. I get the feeling though that the large group of screaming girls to the right of me aren’t particularly bothered about any of this, so I try to watch with an open mind.
As the set continues things definitely heat up, and my earlier complaints are long forgotten. ‘Don’t tell Dave’ and ‘Me and Zoloft Get Along Fine’ were the two stand out songs. Both of which were backed up by the crowd going crazy for them. All too soon the band leaves the stage, but re-appears to finish up with ‘Alex English’, a fitting end for any DGD fan.
Tonight hasn’t been quite as good as I had originally hoped for but nevertheless I have been introduced to some new bands- which in my book is always a winner!
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Emarosa + Deaf Havana + We Don't Dance To Love Songs
For an opening band they have to get you even more excited for what's to come, but We Don't Dance To Love Songs could hardly achieve applause. The choice of whether to blame for microphone troubles or just simply the wrong band to start with is up to you.
Deaf Havana as you may know by now are one man down, due to vocalist Ryan Mellor quitting earlier this month. This certainly doesn't detract from the experience, in fact it strengthens them as a band- sharing the vocal duties whilst still sounding really good.
Emarosa are one of those bands that you know are great- playing well, and their singer is regarded as the best of today
Yet they don't get the recognition they deserve, not helped by manufactured kid-singers like Justin Bieber making people wonder: "Music scene, what happened?"
If all that has gone over your head, or you simply don't believe me, the proof is in the pudding. Their live show.
People all over, especially in the UK go mental just to touch Jordan, Will or Jonny. On many occasion their singer Jonny Craig was dragged from the speakers and made to crowd surf. Hardcore fans indeed.
The music is where the meat is, and every song played off their debut album shows variety and range. Whether it's melody overdosed 'What's a Clock Without the Batteries' or slower placed song "Sailing in the Dark Isn't Smart Kid" are all backed with perfect instrumentals and even greater vocals.
New song "Toast To The Future" sounds a lot more moody while still retaining characteristics of Relativity. Encore song 'Casablanca' was a great nod to the old school even though they rejected 'Utah But I'm Taller' after cruelly teasing us.
The guitars may not pummel you with ear screeching solos but they prove less is more. In spades. They sound just as good live as on record, even with the many technical problems they kept facing. All inside a nice intimate setting giving you ample chance to connect with your favourite band and high five Jonny Craig made for a great gig.
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Jaguar Love + The Finest Hour
Opening the night with the contagious ‘Battle Scars’, it soon becomes clear that Cleethorpes four-piece The Finest Hour have four very talented members. The drumming is tight with Keith Moon-style tumbling rolls, the bassist exudes cool confidence, the frontman plays guitar, and the guitarist is also a good singer.
The result is a rich, vibrant sound, still managing to retain a pleasant, shambolic quality- as though the whole thing is being thrown together on the spur of the moment. This is enhanced by the frontman, who prances restlessly around the stage barefoot until he stands on something painful. Otherwise he has plenty of attitude and uses random shouts and harmonica interludes to bring the songs to life.
They sound a little like The Libertines, but less folky and with marginally more clichéd lyrics. Some songs are laced with retro punk, echoing The Jam or Dead Formats, including new single ‘Move On’. The Finest Hour have exceeded many expectations tonight, but any band who can enthusiastically play to less than twenty people in a city centre heatwave deserves a massive pat on the sweaty back.
On the other hand, ‘enthusiastic’ would be the understatement of the century in reference to tonight’s headliners, Jaguar Love.
In a way, they’re a reincarnation of cult art-rockers Blood Brothers, with Johnny Whitney, the voice that made them shine, is in his element and on top form. But their sound has a more poppy, electro-disco, sunny day feel, especially on songs like ‘Cherry Soda’ taken from new album Hologram Jams.
After forcing all fifteen members of the crowd to come up to the front, Whitney bounces around the stage for a full hour like a kid at a party who’s had too many skittles. His voice is unbelievably high and strong, even when singing uninventive lyrics like on ‘We Started a Fire’. Tracks from 2008’s Take Me to the Sea sound even more amazing in contrast, with just that tiny bit more edge of darkness and Blood Brothers grunge. ‘Bats Over the Pacific Ocean’ in particular is lyrically and musically a cut above any of their new material.
The band’s new drummer is doing well, although it’s a shame some elements are pre-recorded, guitarist Cody Votolato is hunkered down and blitzing through ‘Highways of Gold’ and the summery ‘Polaroids and Red Wine’. He asks how the crowd is doing, saying “It’s hot up here…” which earns a few titters. It’s got to be thirty degrees in here, but Johnny Whitney doesn’t seem to notice, pogoing dangerously close to the edge and to the amp stack, flicking sweat everywhere, and infallibly reaching those incredible notes.
It’s a shimmering rainbow of a set, which ultimately deserved a better (and possibly air-conditioned) venue. But then, Night and Day Café is legendary. The fairy lights are a nice touch, and there aren’t many places where you have to push past the headliners to get to the toilet.
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Shield Your Eyes + Pneu
I knew something that perhaps only four other people in the room did. I was in on it. So when I saw the two Frenchmen setting up their instruments I stuck close to them. I’m talking balls-on-thigh-close. Observing the mix of knowing grins and gormless looks it suddenly became apparent who had seen this band before.
Having seen them previously I knew to get as close as possible, armed with earplugs (essential for this band) and let the human-amphitheatre slowly come together around the band. Given the close proximity of the crowd, the drummer counted a one-two-three-four off on a spectator’s pint glass and Pneu launched in to their assault. What followed was a blur, you can insert all the math-rock buzz words here: jazzy, angular, dissonant, wandering time signatures, techy et al. To join those adjectives together would be understating Pneu, more accurate but still falling short would be: jazzy-as-fuck, angular-as-fuck, time-signiturey-as-fuck and, of course, techy-as-fuck.
They induce two reactions from the crowd, a wide-mouthed disbelief at the how the blur of arms and constantly mobile fingers are playing to the same track and smiles. Smiles that know that their owners are watching one of the best, most challenging live acts around.
This gig was free, and there is no better concert in the country when Pneu play. “It takes a lot of money to look this cheap,” Dolly Parton famously said. It must take a lot of time and work to sound as messy as Shield Your Eyes, all rough-and-ready DIY fuzz, both accomplished and a lesson in boisterous-merrymaking.
SYE co-headline the show and having to follow Pneu is no enviable task. So, credit where credit is due, SYE were stunning. Stef’s guitar work is fascinating. He started with five strings and proceeded to rip them off as they were not required for the tracks that followed. By the end off the set he was left with three strings, two capos and a guitar that looked like he picked it up in a rag and bone.
Rooted in blues but crossing the borders of punk, post-hardcore and grunge, the guitar squeaks and eeks through each track like a demented siren, proving there is no need for refinement in music. Warp-style dill ‘n’ bass approach to drumming is what keeps the structure of the band. Quite what the drum-kit said to piss him off is not known, but Henri’s striking is precise and jabs like hot needles to the retina.
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65daysofstatic + Loops Haunt + Nedry
Nedry is a very interesting offering, combining melodic post-rock and some electronics with elements of Dubstep. They sound mostly quite airy and unlike their tubby sleazy namesake from the film Jurassic Park. They're not bad, although at one point I'm aware that I'm cutting their singer more slack for her, at times, slightly jarring wailing, because she has that kooky foreign charm that excuses singers like Björk from acting weird. That's fine by me- and we got to recite our favourite lines from Jurassic Park at each other throughout which is no bad start. Would certainly date again.
The same can't be said for Loops Haunt, a one man act whose dissonant glitch electronics has flash in the pan moments of being interesting but quite often just infuriates. It feels disjointed, and just when there's a good sample or effect being used it gets jarred by not gelling well into the body of loops, tracks and sounds. Also as someone remarks "it's just a bloke, flicking switches." It is, but if you're aware of that then you know something's not going right.
65daysofstatic once set their goal to play the Octagon, and as they mark this landmark moment they come on to a swathe of applause from the assembled crowd, embarking on a truly awesome set. 'Tiger Girl', 'Weak04' and 'Come To Me' all greet us from the new album and there's more than enough opportunity to bust-a-move with 'Dance Dance Dance', even though most of the crowd seem happy to remain static (pun intended, albeit not very good).
The only downside is the stage dialogue. As we are treated to such cock-blockers as what we had for breakfast, and given road directions; making for an experience akin to bedding Lindsay Lohan- looks and feels great, so long as no one says anything.
With electronic gear and drums littering the stage- the band members wander between them throughout, creating a sound which is as much technological marvel and infectious as it is glorious in it's pure instrumental format.
Finishing up with a big finale of electronic cacophony and an encore of newbie 'Debutante' and the old favourite 'Radio Protector', they conclude a wonderful performance of their unique brand of electronica fused post-rock that sears away the election's worries.
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Testtone3 + Rosie + The Jack-Stops
You always know you're at a good gig when some kid ends up on the floor in the middle of a pit. These sorts of shenanigans that support acts bring determine the atmosphere for the headliners, in this case, the dance infused rock band that are Testtone3.
Prior to Rosie were The Jack-Stops, cool, controlled and riddled with boyish charm. From a visual perspective, they are a group of mismatched lads but they do have one thing in common, a passion for music. The York band may not gel particularly well based solely on image but their sound oozes potential and individuality. Deep and gritty vocals from front man, Jules Lawrence, are accompanied by a delicious blend of pin pricking synth, catchy riffs and throbbing beats, despite drummer Chris Iyer's minor hand injury. Their stripped down cover of The Coral's "Dreaming Of You" was raw yet hypnotic and showed off Lawrence's vocals particularly well.
Luckily, second slot support, alternative rock band Rosie, were feeling generous and showered their audience with the gift of bloody good music. Never ones to hold back, Rosie closed their consistant set by dragging various members of The Jack-Stops and Testtone3 creating a big super group to soak up their sheer musical brilliance like one thirsty sponge.
Time for the good stuff, headliners Testtone3. Plugging their EP and just playing an amazing set, the crowd grew and so did the good mood. Their sound is seemingly hard to articulate but basically, they seamlessly fuse dance and rock. Bez-like programmer Richard Precious added humour to the set which was refreshing and their feel good tunes penetrated ear drums, filling Fibbers with pure delight.
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NME Radar Tour
NME's Radar Tour comes to The Duchess, York. Featuring headliners Hurts, Everything Everything, Darwin Deez and local boys The Federals. The NME Radar Tour is a renowned platform for showcasing the best in new music, last year’s featured Marina and The Diamonds, who you cannot escape from now. This year’s line-up of hype bands included Darwin Deez, Everything Everything and Hurts, the final spot filled by York’s own The Federals. First on The Federals played an excellent set of their own branded rock which musically held its own with the other acts. Disappointingly for a "sold out" gig the crowd were sparse and lacklustre. Darwin Deez are an indie band from New York City, they take their name from their front man; Darwin Deez. Admittedly I have been listening to the album almost everyday for the last few weeks, Darwin's folk driven voice and simple melodic-soft-rock guitar makes it compulsive listening, notably Darwin's guitar is strung with only 4 strings. Their sound translates excellently to the live show, with no introduction they proceed to play through the majority of the album with "constellations" getting arguably the best reception of the whole night. Highlight of the set is the impromptu dance routines offered by the band between songs, Beyonce's "Single Ladies" and The Bangles' "Walk Like an Egyptian" are performed with comic flair akin to Fat Boy Slim's Praise You video. Everything Everything draw their members from Kent and Manchester, their sound is heavily influenced by Radiohead and The Beatles. Named in the BBC's Sound of 2010 list the band are deemed to offer "a way forward for the stale indie scene". I'd have to disagree, although entertaining and enjoyable, their set left no impression and was quickly forgotten. Hurts feature on the BBC list in fourth position and also hail Manchester, the reason for their inclusion became clear as soon as they took the stage; Immaculately presented, Theo Hutchcraft and Adam Anderson have a definitive image which screams "The Crays", with slick hair, polished Brogues and Saville Row suits, when a comb is produced from the singers pocket you’d be forgiven for mistaking it for a cut throat razor. Self described as “Dance music for depression” their dark yet optimistic sound reminds of White Lies and Joy Division crossed with LCD Soundsystem. | |||
Deathfest: The Second Coming
This May Day bank holiday weekend has seemingly seen the end of sunny weather, and in the very bowels of the Leeds union the dark clouds of deathly metal gather to rend a storm upon us.
The first band we manage to catch are The Way of Purity. Entirely clad in balaclavas, aside from their singer who has opted for a feminine mask, they play a curious mix of nihilistic extreme metal with electronics and keyboard but aside from this interesting experimental flair, and occasional flash of tenderness when their singer lays off the yelling to use her clean vocals, the result is nothing to write home about.
Dawn of Chaos gives some death metal that is worthy of remark purely because of the disgusting, funny, and occasionally misogynistic, laddish comments from their geordie singer. Their sound is way too heavy on the bass, but they provide the first enjoyment of the day through the medium of songs about fisting and bodily fluid.
Volition are an enthusiasm sapping doom band, and not in the good way. They slowly push through their set complete with some rather strange/daft high-pitched wails and do nothing for yours truly.
Infestation come onto the main stage and, as is becoming a theme, have rather off sound levels. They are also remarkably loud, and deliver some low brow death metal that, whilst rather average, has the added points of probably being audible in the next county.
Palehorse’s sludge-doom is disappointing, and we leave them to go watch Amputated who get us off the mark as first outright awesome band of the day. Musically they don’t necessarily do anything exceptional but Morbid Mark’s brilliant pig squeals and robot-like vocals, combined with a truly remarkable use of what can best be described as narratives on the disorders of lady-bits, provide some head banging entertainment that brings smiles and hails alike. Having a song called ‘Cunt Like A Sewer’ stands you in good stead it seems.
Fukpig complete with masks and Mick Kenney of Anaal Nathrakh fame and fortune are truly superb. In your face blasting epic crust-inflected death metal is always going to get things moving, and the stage and pit becomes crowded with that certain type of bald, stocky men that always seems to populate these events. Stage dives and pitting are utterly relentless and punk energy-death metal infusion is enough to make me sorry they’re not on for longer.
Italians Hour of Penance are one of those love or loath death metal bands that either get people rabid and mental with praise or disgust. As it is their performance doesn’t make me look up very often, and whilst their style is commendably muscular it is also painfully mind-numbing and yields nothing remarkable.
Singapore 3-piece Wormrot are hot property on the grindcore circuit at the minute- which coincidentally is how long their songs tend to last. Rampaging with the savagery of Pig Destroyer and the infectious rhythmic inflections of Municipal Waste they are non-stop fun that almost makes you want to dance as much as mosh. A rapid fire set with tracks like ‘Born Stupid’ finishes all to soon, and the last we see of the singer he’s being carried by the crowd towards the back of the venue in the direction of the toilets. We are later helpfully informed by the drummer that, “he was gonna have a shit!”
Negura Bunget are another band who we wish had a longer set. A big name in post black metal, they justify their reputation and give us a cultured, brooding performance of pitch perfect proportions, evoking the character of Romanian folk music through traditional instruments and pagan styles. A dynamic performance that provides some much needed variety and sophistication, it makes them to many the band of the festival. No argument here.
Abgott pile-on the metal awesomeness with the same enthusiasm they apply make-up and face paint. Complete with additional fangs and contact lenses Agamoth becomes a contender for the best front-man of the festival- giving us rousing speeches that brings out the feelings of camaraderie, and playing guitar from the audience whilst everyone goes nuts around him. Amongst the utterly monstrous extreme metal blasts we are treated to a rendition of the Megadeth classic ‘Holy Wars…The Punishment Due’ that has everyone fired up more than a church in Norway in the '90s. At the closer they feel like heroes, after a performance a band twice their stature would feel proud of. Brilliant.
Ramesses deal out some brilliant doom that puts earlier performances from similar bands on the bill to shame. The monolithic rocking riffs pushes all the right buttons and despite some technical mishaps where the vocals microphone stops working it does nothing to mar the inspired set.
Headliners Immolation are a band I’ve never fully understood, and they’re loved by just as many as those who have incomprehension for their sound. The grumblings and rumblings of their set leaves my opinions unchanged. Disjointed and slightly off-beat, they remind of a somewhat drunken Meshuggah, but it is clear though that to the faithful they’re gods. Their show is without fault, with tracks for the converted like ‘I Feel Nothing’ coming through crisp and strong. Tight sound, accompanied by rousing heart-felt thanks to the fans as “the life-blood of this scene”, they really encompass the spirit of the event and go down well if not universally adored.
Brujeria are both odd as a choice for a headline band, as well as being peculiar in general. With members from Carcass and Napalm Death in their ranks the combination of the death/grindcore sound with staccato Mexican vocals is certainly different- or as one of my colleagues had it, “differently shit.” Whilst that may not be everyone’s assessment it certainly is a curious idea. As the band throw themselves into it whilst wearing bandito bandannas over their faces. The two vocalists, with comically cut holes in their own facial wear to speak through, give us some amusing speeches on the subjects in-line with their Mexican drug lord gimmick which the crowd lap it up with savage aplomb- so much so that a man who takes a bad fall from the stage causes a 10 minute pause in the set and has to be taken out for medical assistance.
The remainder of the final set of the festival passes off well, but as the curtain closes on this br00tal event this final performance is quite possibly indicative of Deathfest overall, being good but not exceptional.
With plenty of decent bands but not quite so many heavy hitters; this year was certainly a sturdy brawler, but not quite a killer.
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Futureheads + Dutch Uncles + The Postelles
New Yorkers The Postelles were the opening band for the night and they brought us catchy indie pop. It was reminiscent of The Strokes and The Libertines, minus the attitude. They came across as a band who enjoy what they do, but also appear relaxed and laid back on stage. Having worked with Albert Hammond Jr of The Strokes on their forthcoming release it's hardly surprising that comparisons can be made to their New York predecessors. The songs were well played, enjoyable with up tempo beats. 'Can't Stand Still' was the standout track of their performance, whilst a rather sketchy cover of The Ramones - Beat on the Brat let them down slightly.
Dutch Uncles were up next. The highlight of their set was their rather entertaining frontman. Think wailing vocals combined with spasmic dance moves. He would sing a line and then break into a little dance. I think it's safe to say I had never seen a singer quite like him. Unfortunately the music wasn't as original, with the songs sounding quite samey. Many of the crowd seemed to switch off after a while and not give the band their full attention. During their performance the room began to fill up for the headline act.
By the time The Futureheads took to the stage it was clear that many of those in attendance had been to the bar quite a few times during the support acts and they were certainly ready to sing and dance along to the headliner's set. The band opened with 'The Chaos', from their new album and followed this with their new single 'Heartbeat song'. Despite the tracks being so new everyone was singing along and dancing to the songs. In fact the crowd seemed to enjoy the new material as much as the old indicating that The Futureheads have a very loyal fanbase. Other songs included Meantime, Walking Backwards, Skip to the End, Decent Days and Nights and Hounds of Love (which involved splitting the room in two and getting the audience to sing different parts of the song). The venue was packed with people and the atmosphere was great. The Futureheads put on a brilliant show and their between song banter was as entertaining as their performance.
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Alesana, A Skylit Drive, Bury Tomorrow
You have to give it to the new batch of screamo bands and the scene fans they produce- there loyal and that's always a good thing, queuing from 5pm just to catch a glimpse of their favourite people.
Bury Tomorrow up first, Southampton's finest metalcore act blast through with some great music. A load of genuinely really funny banter helps them come off as a genuine easily accessible band, and they deserve a lot of respect too, through their relentless touring schedules and DIY approach to being heard. In getting to the band's
most popular song 'You and I' its time to say goodbye to the circle pit and hello to the more carnage inspiring evil square. Yes, that was quite a sight.
A Skylit Drive cannot be talked about without mentioning Michael "Jag" Jagmin's high pitched vocal style. Being used to him on recorded it still surprised me how high he can actually go. Very strange indeed.
I also like bands that have as many members singing as possible, as you get a better sense of completeness. This is stepped up more so when it's Alesanas turn to rip. Four of 6 members providing their own twisted version of vocals, coupled with scorching riffs and guitar tapping battles.
All the bands on the bill are metal/hard core in the end, but the different varieties offered from each band makes it hard to go wrong. Bury Tomorrow have got a perfect mix of strong throaty gruff and serene singing, A Skylit Drive have the range, and Alesana are brought a new meaning to energetic tonight.
All bands perform as tight as they are on record leaving you to tune out the real world and have a lot of fun with some great talent, both on and outside our little island.
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Karma to Burn (plus Massacre of the Megafauna, Year Long Disaster)
Still high on the feeling of my first guestlist entrance, the initial tracks heard from Massacre of the Megafauna seemed perhaps more satisfying to myself than they were to other onlookers. One said “they sound exactly how I imagined a Karma to Burn support band would sound like”, and I was unsure as to whether he meant that they were worthy, or that they were merely serving their purpose as K2B-lite, a mere appetizer. The vocalist’s unorthodox screaming frequently overpowered the riffs, but also became buried deep beneath the bass-driven grooves, a factor seemingly determined on how much attention the engineer was paying. Despite their slightly forgettable performance, a co-attendee was convinced that there was more to discover from the band, so bought a CD. In reaching (at least) one audience member, I shan’t hesitate in calling their set a success – if only a warm-up.
It is instantly noticeable how much Year Long Disaster enjoy playing their music. Thunderous riffs and relentless grooves sonically impale the willing listeners, ensuring that nobody remains stationary. Singer and guitarist Daniel Davies notices our enjoyment, and injects even more energy into his performance. His stage presence is undeniable as his vocals fill the room – perhaps an inherent trait from his father, Dave Davies of the Kinks. The band effortlessly demonstrates that they could comfortably perform a headline slot if they received such a chance.
Although I have always preferred Karma on the few tracks with vocals, their lack of a singer does not greatly hinder the performance; riff flows into riff, song flows into song. The result is an incredibly infectious (if rather distant) half-hour of music. Davies reappears to contribute lead guitar and vocals over a Karma original, followed by an evening highlight: a cover of Sabbath’s ‘Never Say Die’. This marks a turning point for the audience, who have now been included in the performance via the medium of badly-singing-along. The distance between the band and the crowd feels less prominent, and everyone becomes a lot more susceptible to head-banging. The band exits, the lights dim, encore chants ensue... but the house music begins and a enormous musical anti-climax rushes over us all.
Despite the sour taste left by the lack of encore, the consensus swings in favour of an enjoyable evening.
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Napalm Death + All Will Suffer + The Afternoon Gentlemen + Death Job
Death Job kick off the evening with some amicable crust-punk/ grindcore. There is something quite lovable about the vocalist’s frantic yet humourous presence, as he rebounds from surrounding amplifiers. The musicianship on display is aggressive enough to successfully accompany his hostile performance. Heads around the slightly under-filled room nod in approval.
With the second band, The Afternoon Gentlemen, we arrive at my personal highlight of the night. As two unruly looking fellows stagger on stage, immediately noticeable is the lack of bassist – a matter concisely addressed with ‘"ooks like we haven’t got a bassist tonight, deal with it". After a quick sound-check consisting of some generally unsettling pig squeals, something of a guffaw spreads throughout the audience. But before we can finish pre-judging the band, the first song is over. Uncertainties over the feared slam-squeal-core style raising its ugly head are dashed in a thirty second blaze of razor sharp riffs, inspiringly brutal percussion and a singer whose screams were aptly described by an onlooker as ‘"ridiculously pitched". During some technical difficulties, the crowd are already baying for more – and fifteen gloriously guttural minutes more is what we get.
Hopes are high for All Will Suffer, as they stroll on – baseball caps and all. But with a mid-paced hardcore set comprising of fairly average Hatebreed worship, and an abundance of the metallic marmite of chugga-breakdowns, the underwhelming pace, aggressiveness, musicianship, and song-writing damages the increasing air of excitement and hostility.
Thankfully, the headliners are as devastating as ever. Presenting a healthy mix of tracks old and new, every fan is catered for. They display no sense of urgency as Barney often interrupts the set with political and humanitarian micro-speeches, to an eagerly applauding audience. Highlights of the set include a number of consecutive From Enslavement to Obliteration blasts, where Barney capably fills the boots of Lee Dorrian, and his good-natured crowd interaction such as his individual "yes!" and "no!" responses to heckled track requests.
Despite previous performances displaying better sound and a more cacophonous setlist, Napalm Death prove once again that they can successfully perform on cue, providing a satisfying hour of masterful deathgrind.
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Dropkick Murphys
I arrived at 8pm for this show and had missed the two support bands.
By the time Dropkick Murphys took to the stage at 8:30 the academy was
pretty much packed out, and the majority had been chanting “Lets Go Murphys” for a good 20 minutes.
They charged onto the stage and kicked straight into 'For Boston', a track about their beloved hometown. For the next 90 minutes we were treated to tracks from across the bands 16 year career including older classics like 'The Rocky Road To Dublin' and 'Workers' Song', newer tracks including 'Famous For Nothing', and their reworkings of traditional tracks such as 'Johnny I Hardly Knew Ya' and 'Captain Kelly’s Kitchen'.
Although the band gave it their all for the entirety, I can’t help but
think that the early show dampened the atmosphere in the gig somewhat,
as something just seemed to be missing in comparison to other times
I’ve seen Dropkicks live. With this said, the sweaty bodies at the barrier were loving every minute and singing along to every word!
The set was finished off with 'Kiss Me, I’m Shitfaced' for which the band
were joined on stage by all the females from the front of the
audience. No sooner had the audience cleared from the stage the band
came back to play a four song encore featuring 'Bar Room Heroes' and 'Shipping Up To Boston'- and this time all the males from the front invaded the stage.
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Pama International + Imani + China Shop Bull
This is one of those venues that doesn’t do any favours to bands. On the one hand it’s independent and it’s got history. On the other hand it would be nice to actually hear the band, and for them to hear themselves.
China Shop Bull have been around a fair few years, and it’s a shame they’re not recognised for the truly skilled and energetic live band they are.
An eclectic mix of RATM rock, Sublime reggae, rap and rave, the band’s sound is beyond the 3 chords of punk but keeps the raw energy whilst smashing up the boundaries of music with a strong live performance.
Fans of Sonic Boom Six and Mouthwash should pay attention to these guys.
Imani comes up next, a solo ska/soul singer with a backing drummer and bassist from Bradford.
The tunes are sweet and colourful enough with the delicate edge of 60s easy-going ska, complete with elements of The Beat and 70s lover’s rock.
The stage performance itself lacks a flow as each song is unnecessarily introduced, but the elements are all there for a decent, calm and pleasant set.
Tech problems continue Pama play with only one monitor working, terrible for a band that relies on the well-timed pacing, yet they still deliver a strong set of reggae and ska tunes.
Their albums and live set flow from well-paced dub music through to a reggae vibe that one can’t help but smiling along to. They also deposit some more skankable ska into our ears, but the real power of Pama is to keep the tempo nice and easy without letting it slide into the more common 2-tone beat.
Pama’s sound is more diverse and well-crafted than that, from the original ska and rocksteady beats that evolved into reggae taking in the third wave soul/ska fusions of East Coast bands. Their output for music if nothing if not impressive, and I would urge anyone to check out their releases, particularly their latest stuff.
Tonight they rocked out ‘I Still Love You More’, a stand out tune recorded with The Specials's Lynvel Golding- proving ska and reggae didn’t just suddenly vanish with the death of 2-tone in the late 70s/early 80s I'd dare any elitist ska fan to not appreciate the beauty of the song.
Tonight's venue may have not proved a supportive establishment but nevertheless Pama still deliver. With decades of experience in various other bands, as well as a huge back catalogue, they have a real sense of making good, honest, and, on occasion, simply beautiful music.
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Madina Lake + We Are The Ocean + Mayday Parade
London's HMV Forum is truly alive tonight and despite choosing to put first band Adelaide on as the doors open (resulting in many including myself missing them) there's a sense that tonight is about just having one thing- fun. And lots of it!
Mayday Parade's short 7 song set is right on target and gets everyone moving.
Picking up fans along the way it's hard to believe that this band are not main support, let alone it only being their second time to these shores. Every song is given a proper pounding and if it wasn't for the poor sound engineering at the start of their set they'd have made an even bigger impact.
Here's hoping they grace these shores again some time soon. Older song Three Cheers For Five Years and Jamie All Over are the stand outs.
Having not heard much from We Are The Ocean I was interested in what this band were going to bring to the night. Their set certainly hit a chord with the fans, however if you're not a fan of something a bit more hardcore you'll probably wish you'd saved your ears.
Their tepid set is nothing short of irritating and they are far from an acclaimed best.
Madina Lake had their night tonight. They've always been a band who are about two things- the music and the fans. This is what keeps them going and makes them unmissable.
Despite a shakey start due to some poor sound issues, you know that only good things are coming.
From the Muse-esque balloons filled with confetti to the party streamers and light-up sign (resembling something from a carnival) they give it their all. Explosive and full of energy they rope everyone in from the older songs to the new.
They just beat Mayday Parade to band of the night. The only thing missing was the amazing cover of Nine Inch Nail's 'March Of The Pigs' that they played during their last venture to the forum, but one was only hoping. Make sure to catch them when they're next in town.
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The Computers + Outcry Collective + Chickenhawk + Arts Got The Gun
Arts Got The Gun were a great start to the night despite there not being much of a crowd that early in the gig, with their singer in particular still really enthusiastic and energetic.
Everything but the vocals were similar to recent British punk, but the heavy screamed vocals added a nice twist and a sense of originality that when mixed with their really catchy riffs and melodic groove was really refreshing.
As it should, the crowd began to grow nicely as Chickenhawk came on with a quite off-beat sound that got progressively heavier throughout their set. They definitely worked the crowd and their great use of feedback combined with the bass getting increasingly more intense made the set quite epic.
Outcry Collective had massive energy and pranced around like their pants were on fire- which was amazing to watch.
They looked great together and sounded really tight with an easy-going melodic punk sound.
With their drummer going mental and the band as a whole interacting with the crowd these guys definitely deserved to be high up the bill- thoroughly recommend.
The Computers were wearing their sexy white suits again, which I'd seen them wear whilst supporting the Cancerbats and they performed to the high hills.
Frontman Alex performed exceptionally, putting on an amazing performance with his guitar skills -which were shockingly awesome. Most frontmen can just do one of the above but he can really do them all. Everyone screamed along with with Alex- so full of energy he didn't stand still for a second, and the band pushied all the performance boundaries- taking over every inch of the room with their amazingly original sound.
'Save Our Souls' in particular had a really sexy groove to it and got loads of people moving with the intense bass and drums, the band capturing the whole room's attention.
A riot which everybody well and truly followed.
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Two Door Cinema Club + Citadels + K!tes
Ireland has produced some gems over the years. The great Terry Wogan, the genius playwright Oscar Wilde, and the highly entertaining Jedward.
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Underoath + We Are The Ocean + Blackhole
Not the best opener for a much anticipated show, Blackhole try their hardest to get everyone pumped, but maybe their frontman Richard Carter tries a bit too hard.
Without being harsh, the crowd here tonight take some serious working to get even a single movement.
Following their car breaking down on the opening night of the tour, their run of bad luck continues and the guitar amp blows out.
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The Album Leaf
If I had gone to see The Album Leaf with a partner, I think it would have felt very romantic. Unfortunately, I was dragged along by my slightly strange flatmate, who insisted that this was a show we couldn’t miss by a phenomenal band.
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The Automatic + White Belt Yellow Tag
White belt yellow tag is a band I have heard the name of on numerous occasions without ever actually hearing anything by
them. So I wasn't really sure what to expect. The atmosphere in the almost sold out venue was extemely chilled. I haven't
been to a gig with such a static crowd in a long time. But this didn't mean that the audience weren't enjoying themselves
because this band didn't play that kind of music. I don't think it is wrong to make the most obvious comparison between this
band and the doves (and possibly een early coldplay in places). The lead singer sounds pretty similar to Chris Martin and
Jimi Goodwin and the pace and construction of the songs definitely exhibits a similarity. This said they sounded good. They
used some interesting samples.. one song sounding like it had a full string quartet. And there was a good variety in terms
of dynamics.
After what seemed like an age, The Automatic appeared on stage. They were a lot heavier than the tour support and I wasn't
sure whether the crowd would enjoy it as the move from ambient indie to more punky indie is a pretty big one. However there
was much singing along and jumping up and down. I am so used to seeing hardcore moves at shows and it is was good to see
people moving together in unison for a change. There was a nice atmosphere at the gig generally. People were polite and
seemed friendly. The Automatic declared that they love York and were clearly having a good time on stage. They brought an
extremely tight performance and great sound. Clearly offer more than their most well known song 'Monster'! Surprisingly
they broke into this song just 25 minutes into their hour long set. And as soon as it Kicked in people ran forward and got
excited. The band also played 'Steve McQueen' and this had an equally enthusiastic reception. This said the whole set was
very well played and the reaction from the crowd throughout was great.
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The Computers + Drowned in Flames + Blacklisters + Ghosts On The Intercom
I only caught the end of Ghosts On the Intercom but from what I heard they play
quite technical sounding songs with fluctuating rhythms and dynamics. They
certainly showed off their skills during their set and although I personally wasn't
into that type of music, they did perform very well.
Next up were Leeds band Blacklisters. With a singer who acts like he's had a few
too many drinks, this act is definitely one you don't forget in a hurry. The singer
was all over the place adopting quite a sinister persona and creating an atmosphere
that both captivated the crowd and also managed to make them feel like they should
keep their distance. Even though the singer mostly shouts, there is some melody to
his screams and it certainly compliments the heavy guitar lines. Not something
I'd listen to at home, but it's definitely worth seeing them live.
Drowned in Flames were the penultimate band on the stage. They veered more towards
melodic metal in terms of their sound and the guitars sounded powerful and the lines
were catchy. Three of the band members took turns singing the main parts and they
worked very well together on stage. I particularly like 'My Arrogance Astounds You'
as the guitar riffs are memorable and the song is well written. With the semi-final
of Fibbers 'Battle of the Bands' looming, people of York need to get to that gig
and show this band some support because they're an act who have the potential to go far.
And finally The Computers. Yes, there was a costume change before they started.
Yes, perhaps image is important with their matching white outfits. But one thing's
for sure, they certainly know how to play hardcore. It wasn't long before the
singer had dragged his mic stand into the centre of the room. Unlike Blacklisters
there wasn't such a fear of this frontman; people were laughing as he pulled one
person from one side of the room to the other, and then later proceeded to reverse
himself through the crowd to the back of the room. His between song banter was
great and his ability to laugh at himself brought a nice atmosphere to the room. The
focus was definitely all on him and even though the rest of the band were giving it
their all on stage, we were paying more attention to the singer. But isn't that
always the way? The best set of the night without a doubt and they proved why they
are the ones who were headlining.
The Computers are currently on tour until 1st April.
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Skindred
Last year's Skindred album “Shark Bites and Dog Fights”, draws a crowd of shirts adorned by the cover, with queues outside York’s Duchess tailing around the building. The album's influence continues to the stage with its aggressive fighter plane battles emblazoned across the band's huge cabinets- sitting like a line in the sand, awaiting the band to cross.
The packed Duchess Crowd were suitably warmed up by sets of energetic, anthemic metal by support acts Laruso and Forever Never, the latter of which is fronted by a man who bears a striking resemblance to Jack Black. His orchestral mannerisms seemingly conduct his band with precision.
After a refreshing visit to York’s City Screen Cinema for the late afternoon showing of Shutter Island, Skindred’s front man Benji Webbe was ready for business. First appearing onstage during Forever Never’s support slot- looming ominously at the rear of the stage tapping his fingers.
The headliners take the stage to 'Stand for Something' and storm straight through 'Rat Race', 'You Cant Stop It' and 'Pressure', pausing briefly for some crowd banter. Benji is apparently dressed in his best tonight, reporting to us that his mother always told him; “Wear your best when you go to York!”.
“Nobody” finished the fourteen song set - possibly the best received offering of the night. But with 90% of the audience singing every word of every song leading up to “Nobody” its hard to tell if there was a favourite at all, ending the night after a single unnamed encore and a solo reggae appearance by Benji.
The journey home was peppered with overheard acclaim for the show, a sign of successful night.
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You Me at Six + We the Kings + Forever the Sickest Kids
I just made it into the sold out venue in time to witness openers for the night Forever the Sickest Kids. The six piece played a 30min set full of crowd favourites with plenty of opportunity to sing along. If you like pop punk this band are definitely one you should check out, with their energetic bouncy performance and catchy songs. It felt like Warped Tour had decided to make a brief appearance in Leeds, allowing us to witness and experience a fun performance from the band. You could definitely hear the influences of old school bands like Something Corporate in some of the songs, though the mean age of the crowd probably meant that only a select few would have been aware of this. I particularly liked the stage set up with the keyboard player in full sight, a FTSK 'High School!' backdrop and the singer's custom 'FTSK' mic stand. This is a band who don't do things by halves. The set list included Woah Oh, She's a Lady and Phone Call and got the audience fully warmed up and in high spirits for the next band on the bill.
Second up tonight were We The Kings. Gone was the red lighting and we could now see a well lit four piece on the Academy stage. And so the Warped similarities continued as this is another band who have graced the festival stage more than once and are set to do it again this year. Less bouncy and more serious looking than the previous band, We The Kings provided a more grown up breed of pop punk. The band may not have been so energetic in their performance but the music really sold itself. I enjoyed FTSK and they were good to watch but for me We The Kings were slightly more impressive in terms of their musicality. You should believe the hype surrounding this act. They were great! Highlight of the set had to be the fantastic cover of Jimmy Eat World's 'The Middle'.
And finally it was time for You Me at Six. This band have come such a long way in the past few years and Leeds has been important in that journey (notably the band were previously on Slam Dunk Records and have headlined Slam Dunk). Needless to say the Leeds crowd was suitably excited to see the band and the main room and balcony were rammed with fans. The atmosphere was definitely buzzing. The first band member on stage was drummer Dan Flint who started off the set with a bit of a drum solo. Nice to see a drummer getting some of the limelight. Soon the rest of the band had joined him on stage and the set was in full swing. There was so much going on it was hard to lose interest in what was going on. About four songs in there were flashing lights and siren noises and the band went behind the backdrop. The backdrop fell to reveal a platform with the drummer centre, the song kicked in and the band jumped down to the front of the deeper stage. It was such a great performance. The band played a long set which included Safer to Hate Her, Finders Keepers and Save it for the Bedroom (ft.Travis from We the Kings). This band are still on top form and seem stronger than ever. They have set themselves the challenge of playing the entire Warped Tour this summer, but they seem capable of it and this could give them a chance to break the US scene.
Check out our photos of Forever the Sickest Kids from this show: http://pushtofire.com/photos/ForevertheSickestKids160310/index.html and our interview with the band.
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Turin Brakes + Pete Lawrie
First on stage is Pete Lawrie with his two band mates. He seemed to be unknown to the crowd but they give him a great response once he starting playing.
Even though the stage was filled with Turin Brakes' gear and his fellow band members were obscured behind Pete, they still put on a good energetic performance.
Halfway through the set Pete Lawrie makes some conversation, saying he felt like being in a cage on stage- which resulted in some of the audience howling like monkeys.
Plenty of great band-audience interaction and a great start to the night.
Turin Brakes needed no introduction. They made their way onto the stage with huge cheers from the crowd. The set consists of their best hits and is a great performance-
most notably so when about three quarters of they way through the audience are asked to be quiet and the band proceed to unplug their equipment and came right up to the barrier and played to the crowd. A great touch.
This was the first time I had seen both acts and I left the venue impressed. Another great show at The Duchess.
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HIM
Following their festival appearance at Soundwave 2010, HIM looked more at home playing to the intimate crowd at the Metro tonight.
Beginning with an entry that seemed to come straight from a 1920s' love story, the Finnish love-metallers were received with an overwhelming roar from their passionate fans.
Latest album 'Screamworks: Love In Theory and Practice' provided the scope for the night. Showcasing the bands new sound and musical inclinations, they effortlessly performed ‘St. Valentine’, ‘Heartkiller’, ‘Scared To Death’ and the enchanting ballad, ‘Disarm Me (With Your Loneliness)’, while fans of their earlier work were not left disappointed - with a range of songs from pinnacle albums featuring heavily on the nights’.
The sweeping ‘Join Me (In Death)’, setlist surprise ‘Your Sweet 666', crowd favourite ‘Right Here In My Arms’, and the melodic ‘When Love And Death Embrace’, provided highlights of the night.
Charismatic frontman Ville Valo's vocal performance was at its finest the entire night, and was backed beautifully by the bands signature heavy sound to create a astoundingly cathartic experience.
Tonight ultimately proved a lot about HIM. While their new musical direction is very different from where they started, they have proved time and again that it is possible for a band of their calibre to shift and change musical directions. And do it well.
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AFI
When AFI last toured Australia in 2006, their music was enjoying more mainstream success. Since releasing their latest album, Crash Love last year, the band have enjoyed the same, if not more success in the last few months.
After an enthralling and energetic performance at Soundwave, you would be forgiven to think the band may have been a little flat from sheer exhaustion. Not so.
Blasting onto the stage for opener ‘Medicate’, the band powered through a set list that touched on various points throughout their vast career.
Big-band, rat-pack number ‘Too Shy To Scream’, latest single ‘Beautiful Thieves’ and the infectious, ‘I Am Trying Very Hard To Be Here’ celebrated the bands more recent sound experiment.
While remaining faithful to their most loyal, long-term fans, the band opted for some of their underground appreciated tracks from the celebrated Sing The Sorrow era - playing ‘Silver And Cold’, ‘Girl’s Not Grey’, ‘Dancing Through Sunday’ and the atmospheric ‘Death Of Seasons.”
Collectively, the band were at their live performance best - each song played with the same passion as the day they were written.
Frontman Davey Havok was at his flamboyant best, threatening to suddenly spontaneously combust - throwing himself from one side of the stage to the other.
However the highlight for the night was undoubtedly the acoustic ‘On The Arrow’. For a band to capture such a poignant moment in front of a large crowd is commendable - with most audience members lost in a beautiful sea of melody and atmosphere.
If tonight proved one thing, AFI’s boundless energy and passion for their craft is stronger than ever, and they continue to get better and better.
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Lamb of God
Lamb of God are a band you simply can’t ignore, having firmly established themselves as a cornerstone in modern metal and amassing hundreds of loyal fans in the process.
From the beginning of their set at the Newcastle O2 Academy the masters of American metal showed why it is that they’re at the top of the heap. Taking the stage to the acoustic guitars of ‘The Passing’ (and a deafening roar from the crowd) the band oozed stage presence, which only intensified when they ripped into ‘In Your Words’.
While Lamb of God’s support acts (particularly Job For a Cowboy) suffered from sound problems, none of this was to be seen with the headliners, with every skull crushing beat delivered by drummer Chris Adler hitting home and loosening bowels. Thanks to a carefully selected setlist L.O.G made sure that nobody was disappointed, mixing tracks Ashes of the Wake’s Omerta with modern classics like Set to Fail.
From the outset it was obvious that this was Lamb of God’s show, where the other bands saw the occasional fan participating, L.O.G’s set saw the O2 Academy come alive, with a sea of bodies constantly jostling to keep the action in view.
True there have been better pits, and even during the colossal Redneck the crowd stayed fairly docile (possibly due to high beer prices), but Lamb of God demonstrated perfectly why they are a force to be reckoned with, and why, year after year, their tours are still some of the best seen in the UK - 9/10.
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Job for a Cowboy
Despite having years of nonstop touring and recording under their belts, Arizona’s Job For a Cowboy still don’t seem to have won over their critics, something that was proved by the crowd at the O2 Academy in Newcastle on the second night of their tour with Lamb of God.
From the start of their set the crowd seemed wholly disinterested, sure there was the occasional fan there that could be seen shouting along, but for the most part it was Lamb of God fans that were filling time before the main event. The lukewarm reception wasn't for lack of trying, with JFAC putting their all into every song, and showing the punk attitude which was responsible for their initial deathcore sound, with vocalist Jonny Davy giving off ten times the stage presence of veteran frontmen twice his age.
For a JFAC the setlist was a godsend, mixing tracks from Ruination like ‘Unfurling a Darkened Gospel’ with the more hardcore influenced ‘Knee Deep’ and ‘Entombment of a Machine’ from their Doom EP.
Despite the band’s best efforts to give the few JFAC fans what they wanted they were let down by the dire sound in the Academy, with the bass booming and distorting, drowning out the guitar work of Al Glassman and ex-Despised Icon axe man Bobby Thompson. Even more disheartening is the fact that when Lamb of God took the stage their sound was tight and aggressive, with none of the flabby bass seen in JFAC’s set.
Unfortunately when the crowd at a concert just isn’t in to the band, there’s nothing that can make it right, even if the sound was spot on the circle pit still would have laid dormant with the occasional 16 year old running across it while everyone else rolls their eyes.
If anything this review should give you more reason to go and listen to Job For a Cowboy, because if there were a few more people enjoying the set rather than waiting for it to end then it might well have been at least half as powerful as Lamb of God’s.
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Bonecrusher Tour 2010
It may now be February, but after a slow start to 2010 I find myself at Leeds Rios for day two of the much anticipated Bonecrusher Tour.
Due to an unusually early door time (5.30pm on a Tuesday) I quite literally only catch the last few notes as the first band wrap up their set. Not a problem though, I still have six bands to come!
Not really knowing who’s on next due to the rotating support slots it’s a welcome surprise when Carnifex lead vocalist Scott Lewis appears and shouts, “I want to see this place explode!” I think it’s safe to say everyone at Rios is in for a great night of metal.
Supporting their third full length album “Hell Chose Me” it’s obvious Carnifex’s relentless touring has had an affect the band. Not in a bad way though, as clearly they are in their element in the live setting, and a solid performance is rewarded with some crazy circle pits.
Next up is The Faceless. With a formula of brutal metal mixed with some outstanding technical ability, it’s refreshing to see a band doing something different, especially in a genre that to the untrained ear can sound so similar. Highlight of their set is ‘An Autopsy‘, summing up The Faceless perfectly. Well constructed break downs, some technical riffs, and, of course, lots of brutality.
Things seem to slow down when Obscura take to the stage. The circle pit is put on hold and a more relaxed headbang is adopted. I find their set seems to drag a little, but I put this down to the past two performances being so strong. It does however pick up towards the end with an accomplished drum solo from Hannes Grossmann that leads into the last song. I’m sure in another line up Obscura’s pedigree would shine through, but unfortunately not tonight.
It’s time for the leather clad Necrophobic to grace the stage. Their appearance is best described as Kiss-like, but with less make up. They seem to get a great reception from the crowd and produce a very entertaining set. Lead singer Tobias Sidegard in particular impressed me as a front man; at times he seemed to select a member of the crowd, make eye contact, and proceed to sing with them. A comment from the guy stood next to me sums them up perfectly, “they’re an acquired taste”. But for a band that originally formed in 1989 and are still going strong, they’re obviously doing something right, and I would be happy to see them again.
Representing a more old school style of thrash metal, and my personal highlight of the evening, it’s the turn of 3 Inches Of Blood to show us how it’s done. As you would expect from 3 Inches there are plenty of solos, lots of metalcore backing screams from Justin Hagberg, and pure power metal. Necrophobic front man Tobias Sidegrad also returns as a guest vocalist for “Night Marauders”, and so does the frantic circle pit, my personal highlight of the evening. On the whole a set that shows the old school is still going strong.
Last but by no means least The Black Dahlia Murder step up to a packed out room. Armed with their latest album Deflorate, the five piece waste no time getting down to business. As soon as the first notes of ‘When The Last Grave Has Emptied’ hits the lower tier of Rios becomes pure carnage. It’s been a while since I last saw TBDM but they just seem to get better and better with each album release. Trevor Strnad looks like he is having the time of his life on stage, and backs it up with some immense vocals.Playing a mix from each album there is something for everyone in the room to enjoy, whether a hardcore fan or a newcomer to the band.
My night is cut a little short and I miss the finale - although after witnessing the start of the set I can only imagine it was just as hectic. As I head out into the cold to catch my train I feel warm inside knowing I have just witnessed a sweet metal show. A great first gig to the year for me and I can’t wait till The Black Dahlia Murder return to the UK!
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Northern Oak/Viperous/The Engines of Armageddon - In Support of British Heart Foundation
The desire to come out for Sheffield’s metal hasn’t been as strong since the local steel industry collapsed. Music, and a third of profits donated to a hearty cause. What’s not to like?
Certainly not groove-mongers Engines of Armageddon. Singer/drummer Bill is possessed of serious beard and throaty voice, and has a tone that complements brilliantly with their shoving and surging stoner sound. Finishing with the catchy anti-control anthem ‘Fuck The Chip’, the Engines impress and leave with the benchmark for the evening at a lofty level.
The farewell gig for local metallers Viperous sadly does not succeed in topping this standard. Inconsistent sound with too much bass is further buggered by their singer, who puts in sporadic effort seemingly without attempting to control his outbursts. Despite their ability it is, sadly, an end to the band with a whimper rather than a bang.
Premiere folk metal ensemble Northern Oak have spent the last couple of years building a following and tonight the house is rammed. After some amusing glitches (Chris Mole forgetting to turn on his guitar) they embark on an unfetid, organic performance enjoyed by all, with friendly exchanges between the stage and crowd- primarily regarding bass player Rich Allan’s underwear choice.
Waist-coated singer Martin Collins’s gruff, almost cockney, growls garnish the greenery of the home-grown forest tones, aided by “fan favourite” Elliot Sinclair’s keyboard and the polished sounds of Chris’s guitar. It’s a sound that tills tones of folk-tinted metal rather than meshing the two, so that come the jigging finale of ‘Madness of the Feral Moon’ it brings the curtain down on an oddly graceful, triumphant performance.
*In local Yorkshire accent* Folkin’ good i’ t’were too!
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Rebel Alliance Tour: Random Hand + The Skints + Mouthwash + Chris Murray
First up - Chris Murray. The last time I saw him was 2004 when he was supporting the RX Bandits and played an entirely acoustic set. This time he performance with a two-piece backing band in the form of members of The Skints and also some help from Josh (also The Skints) on one song ('I Need Water'). He was better than I remembered and a good taste of what was to come.
Next was Mouthwash who I have to admit, I wasn't looking all that forward to but they exceeded expectations and played a killer set full of reggae songs and more up beat songs guaranteed to get the most reluctant dancer on their feet. By the end of the set the crowd were suitably warmed up and ready for the mighty Skints.
The Skints' newest album is rather good so I expected nothing less from live show. I was not disappointed at all. These relatively young musicians are very talented and could easily break into the mainstream and follow in the footsteps of The King Blues, due to the universal appeal of their music. Ironically in one song about not fighting, we experienced the most violent pit of the night. The fans were having a great time at the front of the room. Marcia showed off her talents playing multiple instruments (keyboard, sax, melodica), singing and doing some MC style rapping. Females in bands are still a relative minority when it comes to the music industry but Marcia definitely is an inspiration to females who want to perform music. Songs were linked together effortlessly and they managed to slip in a few covers including Dawn Penn's 'No, No, No', Inner Circle's 'Make You Sweat' and a cheeky melody from a Lily Allen song which seemed to go slightly unnoticed by the majority of the crowd. The set was long, but well performed and the variety of songs kept it interesting.
Shortly before the final band, an announcement was made on stage by one of the venue staff. Some exciting news in fact - the first bands for this year's Slam Dunk festival. If you wanted to make the crowd even more excitable this was the ideal opportunity and with the news that Capdown would make a rare performance along with sets from RX Bandits, Random Hand, Sonic Boom Six and The King Blues, the atmosphere in the venue was buzzing.
And without any delay Random Hand started their performance. This was drummer Joe Dimuantes (aka Dimmers)'s final ever gig with the band after being with Random Hand for a total of 8 years. And what a send off! The pace was fast from the beginning and there were all the favourites - Scum Triumphant, Anger Management, British. Josh from The Skints made his third appearance of the night helping out on one of the tracks. They also played a brand new song that they claimed to have never performed in Leeds before - it was awesome, superfast, ska punk and I cannot wait to get my hands on the band's next record. Despite all the bad luck the band have been experiencing lately (Joe D leaving, van troubles, Matt's hand injury) they never fail to pull off an amazing show. Musically, they're as strong as ever and hopefully their luck will improve very soon.
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Henry Rollins
Spoken word is an art all its own, and no one quite manages it with the same unremitting intensity as Henry Rollins.
His Black Flag days behind him he is notable now as an actor, political commentator, activist, radio & TV host, author and poet, and a wonder as someone who has managed to make a living out of being himself. And he’s good at it.
From the second his muscled, thickset, grey-haired form appears on the stage he stands before us and talks. And keeps talking. For over 2 hours.
There’s no interval, and Henry speaks barely even pausing for breath. It’s him all over; unrelenting. No let up, no halting for a glass of water, no pausing to let laughter settle, and, impressively, no toilet breaks.
In fact the only bodily fluid to drip from him is his sweat as he entertains, informs, discourses, and jokes through various topics.
From Washington on the night of Obama’s victory, to Bhopal, India and the anniversary of the Union Carbide disaster (where he sneaked into the chemical plant where the accident occurred- past the armed guards), Henry stomps from topic to topic with the same steely, slightly manic, determination with which he stomps through life. As he does so he paints a picture of his travels and views in a vivid amount of detail, pulling in thoughts on certain topics reminding of Eddie Izzard with more focus.
He makes you feel that you’re living in the space the size of a matchbox, and his adventures cause laughter, sorrow, smiles, and gasps, as you vicariously relive the experiences that Rollins has amassed over years of living at several hundred mph without even considering the break pedal.
It’s an experience in itself, and following this evening it brings a definite sense of well being and vitality. You find your head is filled with the stories and images of far off places and the interesting occurrences of life, all coloured with Henry’s unrelenting philosophy that urges one to reach out and grab them, while there’s still time.
Extraordinary.
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Cobra Starship + Family Force 5 + Futures
Tonight's first band were Futures. Despite some crowd interest and having heard a number of people sing their praises, I personally felt that they came and went without leaving much of an impression. The music didn't seem to be anything new and in comparison to the other bands there was definitely something lacking.
Roll on Family Force 5. With a singer who looked a bit like Zoolander, Family Force 5 were energetic, enthusiastic and got the crowd going with their punchy performance. They have some 'interesting' dance moves and a fashion sense to match, making them memorable both visually and musically. If you want a good time, check them out.
Cobra Starship, the headliners, were greeted by an excited crowd and soon sprung into their set, performing every song as well as, if not better than, the recorded versions. With the female fans screaming for Gabe and the male fans watching Vicky on keytar, this band have an appeal that stretches further than their music. Highlights of the set included Paparazzi, Hot Mess and Wet Hot American Summer (from the new album). The band's massive hit Snakes on a Plane (Bring It) also featured in the setlist, during which a fan was allowed on stage and given the mic. He did a pretty good job singing the lead vocal line and I'm sure that opportunity made his night, if not his week.
Throughout the entire set fans were singing every line and dancing along to the catchy electro-pop punk melodies. A very enjoyable end to the evening and a band you need to see perform live at least once.
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NME Awards Tour 2010
"Thanks to all of you that made me better when I had the flu last time, you got me through it" Orlando Weeks says after a momentary lapse during 'Dinosaurs'. The Maccabees headline at the O2 Academy in Leeds and give an incredible performance at the sold out venue. They kick things off with 'William Powers' a track with a rich and melodic feel, highlighted by the beautifully smooth vocals of Weeks and clan and they perform tracks from both of their stunning albums. The peak of the night being 'Precious Time' with Weeks giving a confident and powerful vocal. An emotional rendition of 'Toothpaste Kisses' gets their crowd whistling like mad men and 'Can you give it?' is infused with harmony.
Support comes from New Yorkers, The Drums, it is their first time in Leeds and they make one hell of an impression. Blasting out 'Let's go surfing' and 'I felt stupid' the new band from NYC carry a decent and appreciated vintage indie sound. Front man Jonathan Pierce is reminiscent of a young Morrissey, flinging his arms about. The Drums' first time in Leeds and by looks, they enjoyed every moment.
They're followed by the glorious Big Pink. Robbie Furze in his usual get-up of jet black leather and studs. All songs in the set are from their ground-breaking debut, 'A Brief History of Love', 'Velvet' and 'Dominos' are the main focus at Leeds. Furze modestly says to the audience, "We don't know if you know this one" then they wapp out the filthy rich sounds of 'Dominos' and before you know it, every music lover in the place is chanting along to that one off the Xbox advert. The Big Pink have done it, once again.
Jack Steadman looks like a shy chap but then he opens his mouth and moves as though he has electric running through his veins, and then you realise how ace Bombay Bicycle Club actually are. All band members look like they love every moment and deliver the most wonderful set. 'Always like This', one of the most loved tracks off their album 'I had the blues but I shook them loose' is an infinate highlight of their energetic set. Steadman does encounter a slight hitch in that a lairy audience member chucks a pint at the front man, but Steadman dodges and indeed has the last laugh. Bombay Bicycle Club conclude with 'Cancel on Me' and prove that they really are a great band to watch live.
There is no doubt in anyones mind that The Maccabees were the ultimate highlight on the bill at the Academy. 'Love you Better' they saved for their encore and by the crowd's reaction, they saved the best for last. The NME Awards Tour 2010 holds musical and vocal talent and was definately loved by all at Leeds.
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Marduk + Anaal Nathrakh
Following some lukewarm support bands the blood is racing ahead of two of the bigger names in the extreme metal scene. English necro-metal heroes begin their set with a crushing onslaught that has marked them out for the pulverizing force they are. Unfortunately due to rather dodgy sound levels and Mick Kenney’s guitar sporadically cuts in and out, a malfunction that causes the fantastic ‘More of Fire Than Blood’ to be performed at a frustrating second-rate whilst Mick switches guitar, which fails to fix the problem. The fact that despite these hiccups they manage a really good performance should say something as ‘The Final Absolution’ and ‘Do Not Speak’ bring the serious teeth rattling heaviness. As they vacate the stage though it’s hard not to feel a little disappointed when one knows what inhumane feats they are capable of.
Swedish black metal blast machine Marduk begin as they intend to go on. With razor sharp riffs and lyrics about Satan. The performance could not be executed more expertly even with the aid of guillotine but the narrowness of the songs begins to become a factor. Once you’ve heard it a couple of times you’ve heard it all. Where some much needed variety comes in is with slower material from the most recent ‘Wormwood’ release and an excellent onstage collaboration with Alan Averill, the vocalist from Ireland’s Primordial which goes a long way to breaking things up nicely. As they take their leave and it becomes clear that an encore is out of the question, no matter how much the fans bray, it brings the curtain down on a hammering performance that whilst low on range couldn’t have gone more grim.
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Decapitated + Katakylsm + Man Must Die
I have been a fan of Man Must Die since hearing the song Scumkiller a while ago and so was eager to see if they lived up to how visceral they are in a recorded form. The band came out in an oddly theatrical cloud of smoke and dull lights but launched straight into a visceral technical death metal attack which left some of the crowd surprised at what may have been seen by some as an anonymous support band.
By a few tracks in it became apparent that the most recent album, 'No Tolerance For Imperfection', brought new depths to the level of technicality to their music which has come, most probably, with the addition of a second guitarist and a new drummer. All being said the set was very good but the sound was frankly awful and the band attempted in vain to improve the levels throughout. If anything (and this is probably something someone would not expect to hear about a death metal band) the sound was just too loud. Whilst they could be accused of leaving an element of their more brutal background behind them, there can be no doubt that the band’s new album and apparent change in emphasis suits them down to the ground.
For anyone viewing this band there would be no surprise that they are signed to Relapse Records (arguably the best label for death metal) and you can expect even better things this year from this formidable Scottish death metal band with dates on the Machine Head and Hatebreed tour coming up in 2010 as a replacement for All Shall Perish.
The next band up are the Canadian death metal stalwarts Katakylsm who have been a part of the scene from their formation in 1992. I had heard rumours that they would be playing for longer than the headline band of the night and, from their past support slots with Deicide, Cannibal Corpse and Vader, I looked forward to a band I had only heard fleetingly pleasantly surprising me. Unfortunately my enthusiasm was misplaced and the band was what can only be described as pedestrian. An overly drawn set filled with material which seemed to be constantly drawing heavily on the sounds of other bands (from Sepultura to Slayer) resulted in many spending an inordinate amount of time at the bar.
Compared to the other bands on the bill they suffered from being far too commercial and the songs blended into one mass throughout the set with the highlight, 'As I Slither', coming far too early on to hold anyone’s attention. Although I cannot say the band are poor, they were dull and were unduly given more time than the band almost everyone had paid to see.
As a heavy bass line swelled, the new line up of legendary Polish technical death metal band Decapitated took to the stage in a fog of smoke. Since their hiatus in 2007, when drummer Vitek died in a car crash which led to previous vocalist Covan falling into a coma, the band have threatened a comeback and very few would be shocked to see a new line up appear in 2010. An unbelievably tight and extreme set was filled with ‘classics’ and whereas the new vocalist cannot necessarily be said to be as good as Covan, the new drummer did not miss a beat where the back catalogue is rife with double bass pedal blasts and complicated passages. They were the only band of the night that had genuinely good levels for their sound and it resulted in an epic set smattered with nostalgic references to previous drummer Vitek, including a chant of his name during an intro for one of the last songs in the set.
An excellent if not slightly too short set was polished off perfectly with my personal favourite 'Spheres of Madness', which had the audience captivated and yearning for more.
Given the way the band were received on the night, I would not rule out a follow up to 'Organic Halluccinosis' in the not too distant future. I would urge more modern ‘deathcore’ bands to take a leaf out of Decapitated’s book.
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Above Them, Hammer No More The Fingers, Well Wisher
There was a one man band type affair playing as we walked into the Cellars, he was playing his last song at the time and I didn’t catch his name. He sounded ok though, and had a lot of equipment on the stage!
The first full band of the night was Manchester’s Well Wisher. This was their first outing to Leeds, and they went down well with the reasonable sized crowd. Their singer was full of energy and was bounding all over the stage, pausing only to sing a few lines into his mic. Well Wisher had a sound that reminded me of a few bands in places, but no one I can put my finger on now, mostly nice and melodic, with a few more distorted moments. Would definitely see them again if they played locally.
Next on the stage was Hammer No More The Fingers, who had certainly travelled the furthest, coming from North Carolina in the USA. HNMTF are over here to promote their Inhaler Records release “Looking For Bruce” and treated the crowd to a few songs from this album, mixed in with some new tracks. For the most part the songs were reasonably slow compared to most of the music I’m used to, but HNMTF are a very tight unit, and shifted from ‘clean and quiet’ to ‘dirty and heavy’ with ease. Their songs are certainly technical and the three part vocal harmonies worked very well. Stand out track for me was their latest single “Shutterbug”, which saw a slight increase in pace. A band worth checking out if you can catch them on the rest of this tour.
Headlining the show was Leeds regulars Above Them, also promoting a recent release on Inhaler. If you don’t know of Above Them you’d be surprised to hear that they tour their butts off and play wherever anyone offers to put them on. From this constant playing together they’ve developed into a well oiled and tight music machine. Their sound reminds me of many of the No Idea Records family, and shows why they’ve been selected to play the Fest in Florida, and support many of these bands on UK tours. Plagued part way through their set with mic and PA problems AT were forced to drop a few songs, but still put on a cracking performance with plenty of passion and energy. If you like good live music with a meaning, check their myspace, find out when they’re coming to your town, go and watch. Simples.
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Kerrang! Relentless Energy Tour 2010
As I approached the Academy tonight all I could hear was screaming, and as I got nearer, all I could see was a queue which stretched right around the venue. Hardly surprising really considering that it was time for the 2010 Kerrang! Relentless Energy Tour to come to town.
I'm not sure what all the screaming was about as there weren't any bands outside. I think that the kids had just been out there so long that they were excited to finally be allowed into the venue. Apparently this date wasn't quite sold out, but I don't believe that as I haven't seen a queue for a gig like that in quite a while. In fact, I haven't seen such a massive queue since I attended the Kerrang! Relentless Tour 2009 in Manchester.
My Passion opened the show pretty soon after I got inside. Unfortunately there were still a lot of people outside still so the room wasn't particularly full at the start of their set. My Passion are a band who became more well known towards the end of last year. They play electro-metal-pop punk and are a bit like a less offensive version of Mindless Self Indulgence in parts. With this in mind if they had been bigger in January last year perhaps they would have been better suited to last year's Kerrang! Relentless line up. The set was well executed with a good crowd response. A good start and an interesting band to watch on stage.
Second on stage were Young Guns. I'd heard a lot about them from various people I know so I was keen to hear them and see what they could do. They were energetic on stage and seemed to be enjoying themselves, but they seemed to lack something. The music wasn't particularly memorable and the performance washed over me. For a band with such a following I was pretty disappointed and found myself looking forward to the next band.
Things soon stepped up a notch as Welsh boys The Blackout appeared on stage. Wow. I've seen them before but they improve everytime I have the pleasure in watching them. We had Sean climbing the rig, Gavin jumping all over the stage and the rest of the band similarily hyperactive. It was hard to know who to watch because the was so much action on the stage and strobes were flashing adding to the chaos. The set list was full of favourites including High Tide. The Blackout played for a pretty long time but the crowd were lapping it up. At the end of their set people started spilling out of the main toom to the Relentless stall. It was as if the gig was over for a lot of people and I really thought that they were going to leave, but soon it was time for the headliners and the crowd made their way back to the stage.
The lights were up and we could see the crew getting the stage really for All Time Low...many of the front row fans trying to sneak a peek at the set list. Someone even crowd surfed to the front despite the lack of band and was carried into the pit with a very puzzled look on her face. Looks like she lost her place at the front.
All Time Low were the only non-UK band on the line up and are at the forefront of the current global pop punk scene. On record they sound like any other pop punk band around right now and they don't make a massive impact (in my opinion), but live they really impressed me. The songs were catchy, tight and very very loud (I was almost shaking as I stood by the speaker stack). Guitarist Jack Barakat was full of energy, running across the stage and playing to the photographers. They certainly enjoyed being on stage and loved the attention from the crowd. The audience were singing back the words from the first line of opener 'Lost in Stereo'. Other songs on the set list included 'Poppin Champagne', 'Weightless' and 'Six Feet Under the Stars'.
So once again Kerrang! and Relentless have pulled off another successful tour. I think the choice of bands worked well and it was clear that all those in attendance had a great time. If this was anyone's first gig I'm sure that it was a good one and their next show will have a lot to live up to. We gave a pair of tickets away for this show to one of our readers and we hope they had a wicked time! The tour continues this week to Glasgow, Newcastle and Manchester, finishing in London on 5th/6th February.
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Iglu & Hartly + New Politics + Dead Rebellion
Californian popsters Iglu & Hartly made an impressive stop-off at York on their 2010 UK tour, introducing brand spanking new songs on a night when their synth-driven sound was greatly welcomed by the Fibbers crowd.
The venue was filled with an electric atmosphere, the fans anticipating their well-known anthem, and of course the band saved the best for last. Their energy was bright and bouncy throughout a staggering 13-song set, the highlight being In This City, when the noise was amazing and there was a real buzz.
In support were Dead Rebellion, a hip hop/electronica band with a decent and very cool sound. Their set was energetic but controlled and they delivered a great performance and some quality music. Plugging their upcoming headline gig in February, the crowd cheered in excitement.
Further support came from New Politics, an indie-rock band from the USA that spewed talent, passion and fun. New Politics gave something different to the York audience: beat boxing, break dancing and American charm. The pint-sized lead singer thrust himself around the stage and entertained the crowd while showcasing some genius music.
Iglu & Hartly and their support acts put on a real show at Fibbers and the gig was one of the best that has been staged in York for a very long time. Iglu & Hartly brought something unique and rare with them and we hope that they visit us again soon.
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Reel Big Fish + Big D and the Kids Table + Sonic Boom Six
We walked into the room just after Sonic Boom Six started their set. The venue wasn't particularly busy for them but
there was a big group of fans right in the middle of the crowd who were dancing along enthusiastically. Soundwise it
was a bit echoey and less compact than usual but that was possibly down to the fact that I'm used to see them in
packed out small venues. Guitarist Ben left the band at the end of last year so a new guitarist was on stage. He was
no Ben, but he was very energetic and seemed to fit in well with the band. A majority of the set consisted of tracks
off 'City of Thieves', with the band playing 'Eyes of a Child', (which drove the pit of fans crazy) and my personal
favourite 'Strange Transformations' which worked really well live. There was also some promotion of the rebel alliance
brand with Barney reminding the crowd to check out the tour when it comes to Leeds in February, and the band covering
part of a song by The Skints. Sonic Boom Six are still as strong as ever despite losing Ben, but they're one of those
bands who will always be better in small, sweaty venues.
Big D and the Kids Table were up next. Despite having been around for almost 15 years this band are still pretty
underground. The set started off strong with Steady Riot and Noise Complaint but after a while the power of
performance seemed to tail off. I'm not sure what happened. Perhaps it was the fact that the lighting made it
difficult to see the band on stage, perhaps it was the fact that the lead vocals weren't quite loud enough or perhaps
it just didn't work. The band played a lot from their 2009 album 'Fluent in Stroll' which also meant there were two
additional backing singers on stage. 'Fluent in Stroll' didn't impressed me as much as their earlier material, so I
felt that a bit more the older tracks might have improved things. They also encouraged the crowd to buy one of the
band drinks for their birthday and get them drunk (not surprising really as the theme of many Big D's songs is
drinking). I love Big D, but I felt let down by their set and disappointed that they didn't show their full potential
to the crowd. They might have gained some new fans, but I'm not so sure.
Reel Big Fish seem to be making playing in Leeds an annual event. Every year they come back and every year they pack
out whichever venue they play. This gig was no exception as by the time the lights came up and the banner rolled down
the back wall the Academy was full of happy ska fans ready to dance and sing to their hearts' content. Opening track
was the ever popular 'Sell Out' which was a perfect choice and got the whole room singing along. Beer and water was
flying as people got rid of their drinks to skank. No-one could ignore that Reel Big Fish had arrived on stage. The
set featured tracks from newer albums but a substantial number from 'Favorite Noise'. We were also treated to 'She has
a Girlfriend Now' with help from Laila K (just like they did at Slam Dunk a few years ago) and a cover of Brown Eyed
Eye (off their latest release 'Fame, Fortune and Fornication'). I don't remember a time I've ever seen Reel Big Fish
and not enjoyed myself; I wanted to sing and dance along and have a good time during their performance and I wasn't
alone. Even people right at the back, away from the main crowd were singing the words and skanking. Musician wise
they're also very talented; their brass section really showing off what they are capable of. And lead singer Aaron is
a brilliant front man and one of the factors leading to their success. I really hope that we see them again in Leeds
next year because it's clear that Leeds loves Reel Big Fish and the band seem to enjoy themselves in the UK too.
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Asking Alexandria + The Fallen + With One Last Breath
I got to Fibbers ten mins after the doors opened and joined the back of the queue. The scene
kids had come out of hiding tonight and there were plenty of backcombed hairstyles,
patterned goodies and Nikes.. And that was just the boys. It was clear from my arrival that
York still loves it metalcore.
A sold out venue but a static crowd greeted the first band of the night, With One Last
Breath. The only exception being a very enthusiastic girl two rows from the barrier. The band
brought us lots of intricate solos and metal guitar lines. They played tight and the first
pit of the night broke out towards the end of the set. I wasn't really into them but they
definitely played well and I'm sure they won a few more fans.
The Fallen followed. The last time I saw them was August 2008 and I was pretty impressed.
Tonight I was impressed all over again and thoroughly enjoyed their performance. I'm not wanting
to make comparisons, but they did sound a bit like Avenged Sevenfold in parts; melodic catchy metalcore.
I wouldn't be surprised if they follow in the footsteps of fellow York band Glamour of the
Kill at some point as they have a great sound and confidence on stage, combined
with a solid fan base in the locality. Pits aplently with hardcore dance moves, moshing and
pushing throughout. It was an energy filled set from both the band and the crowd. The Fallen also
announced that their guitarist Rich would be leaving the band after tonight. I'm sure that
this gig was a good send off for him.
Needless to say by the end of The Fallen's set it was very very hot and sweaty in the venue.
Fibbers was full and the gig was sold out. A lone bouncer appeared at the side of the stage
suggesting that something was bound to go down during the rest of the gig.
Asking Alexandria, the headliners, soon started playing and the crowd really did go crazy. Crowd surfing in Fibbers
is not a regular event but there was plenty of it during the entire set; some people landing
flat but others making it to the stage. One person even had the mic for quite a while during
a song and did a pretty good job filling in for the singer. There was a bit of choreography
from the guitarists/bassists who jogged on the spot and lunged together, which gave their
performance an element of unity. The sound was reminiscent of Bring Me the Horizon with the
singer growling into the mic and the guitars pounding out metalcore riffs left, right and
centre. Despite the madness the set seemed a bit slower in parts with lots of chat/banter
between songs, moreso than the amount we got from the other bands. This was possibly down to
technical difficulties with some of the backing tracks. The set came to an end after 45mins
and the crowd refused to leave, shouting for more. Asking Alexandria came back on to play
one final song and it was a great end to the night.
Read our interview with Asking Alexandria
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Screaming Tarts presents... Eureka Machines + Rebel Yell + Velvet Star
A glam rock start to the night with Velvet Star taking to the stage. The singer was full of
energy and, even though it didn't seem to be that warm in the venue, semi-naked, enjoying
showing off his six pack to everyone. The band were clearly having a good time and seemed to
give off a certain amount of attitude, but unfortunately their enthusiasm didn't seem to be
shared by the crowd. Their sound wasn't particularly original and they didn't succeed
in keeping my attention (despite the intricate guitar solos). The songs felt a little
repetitive and a little dated. Not really my thing. If you like glam though, give them a
try.
Soon it was time to shift to a rockabilly/blues vibe with Leeds band Rebel Yell. I must be
honest, every single time I've seen this band the place has been packed, but this time was
the exception with a clear space in front of the barrier. This said, it was not the greatest
performance I've witnessed from them so the lack of people was probably a blessing in
disguise. Don't get me wrong though, I do like this band and I think they have good songs
and a lot of talent, but I think they do better on a line up of bands of a similar sound;
rockabilly nights are perfect for them, following a glam rock band is not.
The headline act was Eureka Machines. There was a marked increase in bodies in the venue by
the time they got on stage and a row of people at the front barrier. The band brought us a
powerful set of punchy rock and bulky guitar lines. And even though I'd only seen them once
before, I recognised the songs. There was good between song banter too. It was obvious that for
Eureka Machines playing gigs is not just about the music it's about the choreography and the
image as well; they are on the stage to put on a good show and they definitely don't fail to
deliver. Eureka Machines are definitely a band you have to see perform live - you'd probably enjoy listening to their records, but wouldn't get the whole package. The Eureka Machines provided a great finish to the evening.
Live photos online now!
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Rolo Tomassi + Pocketknife + Waiters
Don’t you just hate it when the support bands aren’t announced or advertised anywhere? The result was going into the venue without a clue what to expect, followed by a good hour of cyber snooping today, but the two young and local support acts were worth it.
The first band, Waiters, play a rich, ambient, and somehow old-sounding set, like shoegaze played on an antique gramophone. A glance at their MySpace proves that this is indeed a band to keep an eye on, as organic and joyful as a sunrise; unfortunately, they don’t quite pull off this live set, with suspect singing and minimal stage presence.
Next up is a faultless performance from Pocketknife. They play grunge with heavier post-rock sections, the heavy basslines contrasting nicely with singer Sian’s higher-pitched and acerbic voice. The last song they play is hypnotic and full of bite, and by the time it ends the audience has really warmed to Pocketknife.
At 10pm, Rolo Tomassi take to the stage; and, as keyboardist James Spence remarks, what a stage it is. Manchester’s Deaf Institute is all chandeliers, brocade and bird pictures, under a glass dome. The only problem is its size - barely 200 people could fit in here - but if this is the case, why on earth have the tickets not sold out? The Sheffield five-piece have been on rather a journey, and accomplished so much in just a couple of years, but hopefully this tour coupled with their forthcoming second album will change everything. They deserve to sell out venues twice this size, and recognition for how unique and avant-garde they are (and not just because their singer is a girl).
From the moment they open their set, the stage seems far too small, with five bodies being thrown around with enough energy to burst a blood vessel. Old belters like Abraxas are interspersed with mellower material such as Oh, Hello Ghost. New songs Party Wounds and the exquisite Last Year sound great, and not least because they encapsulate the Rolo Tomassi sound; that blend of tingling synths and manic riffs, with eerie singing or monstrous screaming enhancing the complex and unpredictable structure. Theirs is a unique and futuristic vision of hardcore, positively post-modern in fact; thankfully, it sounds like the new album will be more of the same.
There are some strangely uncomfortable moments when members of the band stride out onto the bar, halfway into the room, head banging into the personal space of various disturbed drinkers who thought they would be safe this far back; meanwhile, Eva Spence rules the stage with her interesting brand of flirty moshing. The pit is in full swing when they perform I Love Turbulence as an encore, and anticipation for the next album is at fever pitch as the crowd files out of the decadent hall. Well, this will certainly be the last time their tickets sell for £7.
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Thrice + We are The Ocean + Telegraphs
First to take the stage tonight are Brighton’s Telegraphs, the band settles quickly and fuse a sound that to me is a mix of Biffy Clyro with shade of Paramore. They switch from male to female with a good effect. There a few slip ups but this doesn’t deter the band who play a good set with a positive response from the crowd. They have some good stand out songs such as The Argument, Navigate and the 'Muse-esque' Someone’s At The Door, with its haunting guitar sound. A great start to the night.
We Are The Ocean explode into their set and it's high energy throughout. Reminiscent of early Alexisonfire, the band plays a huge selection from their debut album but we are also treated to two new tracks from their up and coming second long-player ‘Cutting Our Teeth’; both tracks go down a hit. Lead vocalist Dan spends time between the stage and the crowd and the band get a great reception. As the crowd sings back every word I feel like I’m stood in the middle of the fan club and the only person who doesn’t know the lyrics.
It's great to see two up and coming UK band splaying to sold out venues and going down well, it’s going to be tough for Thrice to follow.
The Cockpit is packed full and everyone is brimming with excitement as they wait for Thrice to take to the stage. The last time I heard any new material was Vheissu back in 2005 and I can’t even remember the last time I saw them, so I’m intrigued as to what I’m going to see. All you need to know is that they do not disappoint; the set list is a wash with classic tracks and new material. Every track has the crowd swaying and surging and reciting line after line. The new material just shows how much the band have progressed as a group and individual musicians. Tracks like Artist in the Ambulance sound as good and ferocious as ever. I know it’s only mid-January but this show is going to take a lot of beating, and I’m already looking forward to Thrice returning to the UK in the summer.
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Kittie + It Dies Today + Malefice + Never Forever
Don’t you just love when a venue doesn't open the doors on time, especially if you’re the first band on and you open your set to a near empty room. Well this was the case for the opening band and I missed their name, but from what I caught musically they sounded good. The only down side was the vocalist who didn’t seem fully into the set - maybe this was due to the timing of the doors opening but none the less they stuck with it and carried on anyway.
Next up was Never Forever; a band on the rise from what I can gather. Imagine Daryl Palumbo singing to a backing track played by Killswitch Engage and you get an idea as to what these guys are aiming for. They got a good response from the small crowd and played a good tight set.
Things stepped up a notch as Reading’s Malefice took to the stage. They exploded into their set with a furious blast of metal. There were no gimmicks (except for one of the members of the support bands joining them on the stage in a pumpkin head...) or posing, it was just a no nonsense performance; the crowd were barraged with riff after riff and some great vocals. They were the first band on stage who managed to get the small crowd gathered at the front of the stage moving and singing back. For me this band were definitely the stand out band of the night.
Brooklyn’s It Dies Today were the final support band. Mixing brutal breakdowns with vocal harmonies, they reminded me of A Day To Remember. Much like the previous bands, there was only a small group gathered at the front but they clearly enjoyed it with a select few reciting every word.
The last thing I remember Kittie releasing was their second album 'Oracle'. Unlike the other bands, for Kittie the dance floor was full and expecting. This was the opening night of their UK tour and they kicked it off in great style. I will be honest and say that they were a lot better than I expected and couldn’t seem to put a foot wrong in the crowd's eyes. The band sounded a lot heavier to what I remembered with Morgan Landers' vocals reminding me of Dani Filth at times. A great start to the tour.
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