#320: NIGHTMARE CITY + SUPPORT - LIVE IN MANCHESTER

AGGRESSIVE PERFECTOR
SHEER ATTACK
EXXXEKUTIONER
NIGHTMARE CITY

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AGGRESSIVE PERFECTOR

 
Opening a night of Thrash and Hardcore at the Star & Garter was Aggressive Perfector, dressed in leather and black eyeliner. It was great to see a strong crowd right off the bat. This trio featured half the line-up of Black Metal group Wode. However these guys delivered a full on 80s style Thrash onslaught. Vocalist Dan Shaw had an aggressive bark to him, but occasionally screamed for vengeance with some high pitched Rob Halford style screams! Aggressive Perfector brought a raw and Punky half hour set and were a sheer joy throughout, getting everyone banging their heads. Their drummer Mike kept up a consistently fast and furious pace, bashing the shit out of his snare and cymbals in particular. Their humour was on point too, with Dan enticing the crowd with his quip "That last song was about SATAN! This next song is about... SATAN!" The standout tracks for me were "Certain Death", and "Vengeful One", which was the fastest of the lot. Aggressive Perfector have an obvious early Slayer vibe, but they also had a pinch of classic Judas Priest here and there too! 8/10.

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SHEER ATTACK

This 4 piece from Liverpool were a force to be reckoned with. Their sound existed somewhere between the Punky Garage Rock of The Stooges and the Speed Metal of Motorhead. Their enigmatic frontman Russ stole the show, with his strange energy and definitely channelled an Iggy Pop style snarl. He performed all over the stage, and sometimes in the crowd too. "Back of the Barrel" (I don't even know if that was the song name, but I'm going with it anyway) was a pure Punk attack where Russ switched to more of a Hardcore style scream. The riffs came hard and fast, with quite a noisy and dirty tone. The band managed to cover well during a guitar malfunction. Sheer Attack climaxed with an incredible racket suitably titled "No Peace", and you could probably hear it from nearby Piccadilly Station. Sheer Attack certainly lived upto their name and kept up the high energy set by Aggressive Perfector. A highly passionate bunch of lads! 8/10.

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EXXXEKUTIONER

This quartet from the miserable abyss of Salford brought a pinch of Black Metal and Scandinavian ethos to the evening. Though they are still Thrash at the core, they reminded me of Thrash/Black Metal crossover acts from Dissection to Toxic Holocaust. Sunglasses wearing Kung Fury lookalike Cliff delivered an ice cold, reverb drenched rasp that gave the crowd frostbite. Guitarist Mike had some impressive, meaty riffs and drummer Liam added some doses of blasting here and there. The band got a moshpit going through their set which was lovely to see. Exxxekutioner ended their set with a fantastic one two punch covering Celtic Frost's "Into the Crypt of Rays" and "Black Witchery", a nod to the band of the same name. Members of the crowd even jumped on stage to scream along! 8/10.

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NIGHTMARE CITY

Our headliners Nightmare City are a trio from Gothenburg, Sweden, bringing a mixture of d-beat Hardcore and Thrash madness! The band have gone the old school route, releasing tape cassette demos and a vinyl LP. The group have Horror inspired lyrics and song titles, and their band name may even derive from obscure Zombie flick Nightmare City (AKA City of the Walking Dead). Their entire set showed a melodic thrash mastery, with dual attack vocals. "Bloodsucker" was a great standout that had a dirty twanging bass and Punky riffs. By this point of the night my neck was really sore, but the whole crowd kept headbanging and moshing away. Nightmare City finished with their badass anthem "Do You Wanna Die?" 8/10.

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With Manchester's Metal scene being dominated mostly be the slower sounds of Doom and Sludge, it was nice to see a lightning fast Thrash evening for a change. The sound was great, the show went off without a hitch and the packed out, energetic crowd gave the place an amazing atmosphere!

#319: STARRY EYES

2014
Directed by Kevin Kolsch & Dennis Widmyer

Psychological Horror, Body Horror, Slasher

Now this was a real breath of fresh air! I don't keep up with modern Horror films as much as I would like to, but quite frequently when I do check out a new Horror film that is being hyped up, I often end up disappointed. Yes, even It Follows didn't hit the sweet spot for me! I was browsing the Horror menus of Netflix and after reading the premise of this film and seeing it had a high average rating, I decided to give it a go! THANK GOD!!! Starry Eyes hit all the sweet spots. The first discussion point, is that it is quite an original premise. A struggling actor working a crummy, demeaning job is so desperate for a role in a Horror film, but is she willing to do absolutely ANYTHING to land the role?

Starry Eyes starts off like a regular movie, but it isn't until leading lady Sarah goes on her audition that things start to seem a little odd and unsettling. Without giving too much away, this is a film that escalates in creepiness and gets more fucked up as it goes along. There are some surreal touches along the way that add to the creep factor, and the film never misses a beat. The performance of the leading actress Alex Essoe is fantastic throughout, giving a very physical performance. The cult like film producers are also excellent. Starry Eyes is quite a unique idea for a Horror film. The closest film I can compare it to is Black Swan, not only because it is about a woman pushing herself too far to land a role, but it has a lot of messed up Body Horror elements, and a similar duality of good an evil sides of one person. Starry Eyes is also a great satire of the Hollywood system. I really don't want to give too much away about this film, but it is very creepy and very intense the longer you get into it. If you want something fresh and exciting from modern Horror, this is it! 8/10.

#318: GONE BABY GONE

2007
Directed by Ben Affleck

Mystery, Thriller

Ben Affleck had a rather patchy time from the late 90s to mid 2000s, where it seemed he was the target of bloodthirsty critics, and to be fair he had a string of bad roles and flop films, including Gigli, Pearl Harbour and Daredevil. Affleck actually began his film career on a high, with his screenwriting credit for Good Will Hunting earning him an Oscar. Perhaps it was this string of critical bashings that urged Ben Affleck to get back behind the camera. Gone Baby Gone is his directorial debut, as well as seeing Affleck write the screenplay, adapted from the novel by Dennis Lehane. Also for the record, I've always been a fan of Ben Affleck!

Gone Baby Gone is a ruthless Mystery Thriller. Ben doesn't appear on screen, but casted his excellent younger brother Casey Affleck in the leading role, alongside Michelle Monaghan, Morgan Freeman and two knockout performances from Ed Harris and Amy Ryan. A 6 year old girl goes missing and our two leading amateur detectives are asked to find her by the family who live in the same neighbourhood. Like any great detective movie, it leads the characters (and thus the viewer) down a rabbit hole of seedy characters, drugs, crime, murder, villains and police corruption. Ben Affleck films in a raw, grainy style, taking inspiration from hit HBO show The Wire (of which two of its regular cast appear). For the most part it looks and works very well. There are few instances where I thought the violence and the tough guy attitude of Casey Affleck's characters got a bit much. And whilst the mystery is very enjoyable and well written, I didn't feel like I was watching anything especially original. Gone Baby Gone definitely takes its cues from David Fincher's Se7en. But for Ben Affleck, he not only rediscovered his talents, but got the critics back on his side too. 7/10.

#317: NAS - TIME IS ILLMATIC

2014

Directed by One9

Music Documentary

Dogwoof seems to be churning out some of the highest quality and most fascinating documentaries of recent times, and here is another great one for music lovers to enjoy. Time Is Illmatic looks at the genesis of one of contemporary music's greatest masterpieces. Nas' 1994 debut LP "Illmatic", still praised as one of the greatest Hip Hop releases of all time. Rather than taking the route of the "Classic Albums" documentary series, Time Is Illmatic gets behind the events surrounding the creation of the album, rather than going too deep into the recording and writing process. Nas was in his late teens when he was writing and recording his masterpiece. His lyrics tell graphic descriptions of life in the Queensbridge projects, where drug dealing, gunfire, incarceration and death are all normal daily occurrences. Determined not to fall into the trap of dropping out of school and becoming a street hustler, a young Nas focused on his art and poetry instead. The true turning point was when Nas' best friend Ill Will (who is frequently referenced on the album) was shot dead, with Nas' own brother escaping wounded, right outside his block of flats. Nas had the smarts to turn his pain and tragedy into a great work of art.

I enjoyed the whole of this documentary, that focuses solely on the debut album, rather than the whole of Nas' career. It's true that Hip Hop die hard fans can easily spot a lack of depth in the making process of the album, but it does cover the basics very well, including interviews with producers Pete Rock, Large Professor, DJ Premier, Q-Tip and LES. You get to see some of his early guest spots, including fabulous footage of him performing "Live at the BBQ" with Main Source. But I think the things that stand out most in this film are the things that aren't heard on the album. A look into Nas' upbringing, his school days and his parents separation. But most importantly it gets behind how black Americans were living at the time, and life in the projects, getting under the skin of how that correlated with Nas' music. Nas himself said he was an observer rather than a participator. If "Illmatic" was a perfect snapshot of life in the projects back in 1994, then Time Is Illmatic is a great extension of this snapshot, putting images to Nas' words. 8/10.

#316: GNOD - MIRROR

2016
Noise Rock, Drone, Psychedelia
Rocket Recordings

Fellow Salfordians GNOD are an experimental collective who are a sort of mysterious cult act becoming more popular across Manchester. They have already put out many releases, from Krautrock and Psychedelic Rock inspired LPs, to Noise and Drone cassette only experiments. "Mirror" has been released by Rocket Recordings on CD and Vinyl and is more of a canon album from the group, who recorded it at Islington Mill in Salford.

I picked up the CD of "Mirror" that is presented in a blank shiny reflective silver sleeve. My first impression of this album is that it is seriously some heavy shit! Though it is one of those albums that builds in weight and intensity as it goes on. The opening title track is the most relatively tuneful one here. It hangs on a Jah Wobble inspired bassline that repeats throughout the 8 minute duration. It moves quite slowly, but a splattering of scatty psyched out guitar keeps things interesting. The vocals are very interesting, with these washed out demented screams, with lyrics only half decipherable through the reverb. A minimalist dirge that definitely reminds me of early PIL.

After this, things take a tumble down a rabbit hole of gloom, misery and insanity! "Learn to Forgive" is practically Drone Metal, with a filthy fuzz bassline and noisy guitars that scream in agony. The vocalist sounds like Mark E Smith if he had been impaled on a spike and was slowly bleeding to death. Though it is based on the same chords throughout its 8 and a half minutes, the song just builds and builds in density and by the end it becomes so intense and noisy, but in a beautiful way. This track makes me feel like I am being slowly boiled in a giant pan. The use of what sounds like an air raid siren in the background is subtly effective. GNOD sound like they are channelling acts such as Boris, Jesu and Swans here, and the Industrial despair of the derelict ruined buildings on nearby Salford Crescent is captured perfectly. Third track "Sodom & Gomorrah" expands these nightmarish feelings even further. Weighing in at 18 minutes, this song is even slower and heavier. A clanging bassline of Doom will destroy your eardrums. Realising that they can't get away with a repetitive bass hook for too long, this song tends to drift in an out of quieter dark ambient parts. The jangling percussion and ghostly wailing voices give an occult and ritualistic kind of feel, and it is one of my favourite parts of the record, showing a whole other kind of intensity. The fourth and final track is somewhat of an anti-climax. This remix of the opening track by Raikes Parade doesn't really feel necessary and could be considered a bonus track. It isn't really that much different from the track the opened the album. The bass is more pronounced here and there is much more reverb added to the mix. This version of the track kind of reminds me of 90s Ambient Dub Industrialists Scorn.

If you have ever lived in Salford, or a city full of council houses, high rise flats and industrial factories, you will find a kindred spirit with "Mirror". I think it perfectly captures the feel of walking through Salford on a rainy night. The red bricks and the grey skies. But aside from that, GNOD have made a colossal droning album that will give you nightmares. It is very serious, heavy and laced with anarchic lyrics and menacing thoughts. "Mirror" exists somewhere inbetween the Krautrock of Can, the Drone experiments of This Heat and the full on crushing Doom misery of bands like Man Is the Bastard and Conan. The whole album feels like it has been buried in dirt and sewage, and I can see this appealing to fans of Psychedelic Rock, Hardcore Punk and Extreme Metal! Though minimalist and repetitive, "Mirror" speaks many languages. 8/10.

#315: HANZO - HANZO

2016
Indie Rock, Garage Rock
Self Released

Hanzo are a 3 piece band from Rugby, England who have self released their debut self titled EP. The unsigned trio are continuing to build up a following by playing live all over the UK. The EP opens with "Doll Face" and instantly hits you with a swaggering Rock riff. Vocalist and guitarist Pete delivers more of a high pitched vocal on this track. The song is very catchy, lead by a simplistic riff. The "Hush little darlin'" verses will easily get stuck in your head and have you humming along. "Sweet Tooth" impresses me much more though as Pete switches to a deeper Elvis style vocal. This track sounds very modern but has a Rock N Roll vibe to it, with reverb drenched guitar adding a Surf Rock twang. The energy on this track is high, with a scattering of tremolo guitar in the middle breakdown. The song climaxes with some powerful riffs reminiscent of Royal Blood before the Surf Rock vibes make a reprise. Definitely the standout track out of the three. "Yellow Bones" exists somewhere inbetween the vibes of the first two tracks and adds a keyboard melody into the mix. This brief EP is a decent start and is very well recorded. Hanzo may still be finding their sound and are trying out different styles, but I think it is the Surf Rock of "Sweet Tooth" that may suit them best. I would definitely catch Hanzo live if I saw them on a bill, because I think they would be able to get a crowd rocking out. 6/10.

#3.14: π

1998
Directed by Darren Aronofsky
Psychological Thriller, Surrealism

π is the debut feature film by New Yorker Darren Aronofsky, who went on to make such classics as Requiem for a Dream, The Wrestler and Black Swan. Aronofsky made this film on a super low budget, helped by friends and family who invested in his ideas. The film is shot in ultra high contrast black and white, and Aronofsky didn't even have any filming permits, having to shoot scenes on the sly. π Isn't exacly a pleasant film to look at, with lots of noise and grain in the picture, but if you are a fan of super low budget films like Clerks then you will know what you are in for. Although the film looks like a college film project, Aronofsky still manages to add an interesting visual style throughout, composing some eerie shots. The film establishes a great technological look full of computer screens, and even the small moments, like the way protagonist Max Cohen locks his door, are stylishly edited. There is an incredible scene in a New York subway that has a very eerie tone, almost jumping into pure Horror territory, reminding me of Jacob's Ladder, that has ambitious visuals considering the films restrictions.

π is one of the most unique films I have ever seen. The premise is about a mathematical genius who suffers from severe headaches and anxiety, being driven mad by mathematical formulas in his head. The film captures a superb paranoid edge throughout. Max Cohen is never quite sure whether the people he meets are his friends or his enemies, and remains isolated and cautious. Thus, the viewer shares his paranoia and the film makes you feel on edge. Aronofsky achieves this further with the use of surreal sequences where you aren't quite sure whether they are for real or just nightmares in the protagonists head. The film is edited so that the chronology of the story jumps quite rapidly from scene to scene, giving you a feeling of nausea and unease. It is difficult to tell whether the whole film takes place in one day, one week, one month or even a year. Another great aspect of π is the use of IDM/Electronic music in the soundtrack, along with Clint Mansell's eerie Dark Ambient score. The use of music by Aphex Twin, Autechre, The Orbital and Massive Attack perfectly suits the feel of the film, enhancing the mathematical and technological feel.

π is a fast paced film that manages to be gripping without having any major conflicts between characters. Any conflict seen in the film comes more from within Max Cohen's head than with anyone else. Not only is this one of the most leftfield and unique premises to any film I have seen, but the idea of viewing a film through the eyes of a character who is completely broken down mentally is something that makes it such a bold experience. This makes Max Cohen not an antagonist, but an anti-protagonist if you catch my drift! Considering I am a person who really struggles when it comes to numbers and mathematics, I found this film completely enthralling and would definitely watch it again one day! 8/10.

#313: JAMES - LIVE AT HMV MANCHESTER

To celebrate the release of their latest album "Girl At the End of the World", Manchester legends James chose to perform an intimate set at HMV Manchester to a packed out store full of die hard fans. Considering that this is from a band who are set to play the massive Manchester Arena in May, a band that can headline festivals, this was a rare opportunity to see them perform up close in a small space. James also performed here two years ago when their previous album "La Petite Mort" came out, so it is fine to see that they still support their local record store. It felt like there was an even bigger turn out than the last time, and it was great to see such an array of people sporting different James shirts from old to new.

The 6 piece walked out to a huge roar and applause, and climbed onto the makeshift stage assembled earlier in the day by the HMV staff. James opened with the title track of the new album, which saw one of their guitarists using a 12 string guitar, and the other playing slide guitar. Before kicking in, frontman Tim Booth explained that the song was inspired by car crashes, in particular a roundabout near where he lives that sees frequent collisions. This was reflecting in the lyrics of the song, as Tim's vocals soared across the room in fine form. Though James' sound may have changed over the years, one constant is Tim's incredible vocal range. The slide guitar gave this song a Country style twang, and although the verses had a sombre feel, the uptempo chorus made this into a great song. Their second track from the new album, "Feet of Clay" saw one of the guitarists switch to a cello, giving the sound an extra warmth. The song is driven by a cracking bassline, and Tim's voice went above and beyond on this track. The cello sounded absolutely fantastic. Of all the songs on the new album, this is one that has that classic James vibe. Once they finished the song, Tim told an amusing anecdote about when the band were nearly hit by lightning when playing at a festival during a thunder storm. The group really connected with the crowd, sending them into fits of laughter and you can just tell that the band members are very down to earth guys.

James' 3rd song of their performance was "Dear John", which Tim explained was about when soldiers get "dumped" by their girlfriends via letter whilst they are away serving for their country. This song was dominated by the use of the synthesiser, and is the most reminiscent of the Synth Pop direction the new album has taken. The bouncy melody of the song allowed Tim to really get his groove on as he danced on stage like a man possessed! The group finished with the anthemic "Nothing But Love". This time their guitarist switched to playing a mandolin, completing a very diverse set. The mandolin definitely made me think of an REM vibe. The oohs and ahhs of the chorus got the rest of the band singing along, and of course the majority of the crowd too. This capped off a stunning intimate performance, proving that even after 30+ years, James still have a lot to offer and know how to keep a solid connection to their fanbase. After the performance, James then met with fans, signed copies of the album and took photographs, making this event a dream come true for many happy Mancunians!

#312: THIEF

1981

Directed by Michael Mann
Neo-Noir, Crime

Thief is the second film by US director Michael Mann, released in 1981. It stars James Caan in one of his finest roles as a hardass diamond thief. One of the many talking points about this film is how exquisitely beautiful the framing of the camera is. Michael Mann really established his signature visual style here, and you can tell he has painstakingly assembled every frame of the film. He uses lots of night time shots, capturing the city lights and rain drenched roads, making them look so vibrant. It adds a real chilling atmosphere to the film. His use of silhouette and light and shadow is just phenomenal also. A shot at the beginning of the film where James Caan talks to a fisherman looks absolutely stunning. This film has been given the loving HD treatment by Arrow Video, so picking up this Blu-Ray disc is a must!

Of course it is one thing to make a visually striking film, but Thief works on just about all fronts. In particular the score by German synthesiser pioneers Tangerine Dream works superbly well. It was quite a bold move to use this band, as their music is often associated with outer space, making them more suited to a Sci-Fi film, but somehow it works wonders in Thief. The score is used sparingly, but the opening scene where James Caan is cracking open a safe (using real tools) in particular is given that little something extra because of the fantastic score. 

But the thing that impresses most about Thief is what truly matters, a phenomenal central performance by James Caan and a well told story. I would consider Thief to be a sophisticated crime drama. Similarly to films such as Scarface and Taxi Driver, it follows the journey of a ruthless anti-hero, but presents him as a three dimensional character with hopes and dreams, highs and lows. James Caan completely nails the role and carries the film easily so there isn't a dull moment to be found. Thief is not a film that relishes in gunfights or car chases, it is a very character and dialogue driven film, paired with fantastic visual shots that enhance the mood the story.

Thief is one those all around packages that works at every angle you could care to analyse it at. A film that can easily stand up to the likes of Scorsese or Copolla, yet it's not a film I often hear being talked about. 8/10.

#311: NINE INCH NAILS & DAVIE BOWIE - BACK IN ANGER

2016
Industrial, Electronic
Sonic Boom Records

2016 has already seen a whole bunch of David Bowie reissues flooding stores since his sad passing. Official and unofficial, with the 180 gram vinyl album reissues and a bunch of unofficial radio broadcasts. One of the most interesting of these is this document of when Nine Inch Nails and David Bowie toured together in 1995. According to the liner notes, Bowie had to be talked into touring his album "Outside", and he wanted to try and make his sound as current as possible and attract a young audience to his shows. After meeting Trent Reznor, Bowie said that he saw something in him, reminding him of the person he was at that age. Nine Inch Nails at the time had seen enormous success in the Alternative and Metal scene, with their iconic album "The Downward Spiral" having made the bestsellers list. On this tour, Bowie didn't just want NIN to be his support act, but he wanted to perform with them on stage, making it one of the most unique experiences for fans of both acts.

I must point out that this 2CD set is a bootleg, capturing a show at St Louis, Missouri in October 1995. The material has been taken straight from the original Radio broadcasts made in 1995, and I don't think any further mixing or mastering has taken place. The entire concert is presented across 2 discs, spanning 1 hour and 40 minutes in total. Already this is well worth the current £9.99 asking price! The sound quality is fairly good, but not excellent. The vocals are mixed louder than the music, and the Nine Inch Nails tracks in particular seem to suffer from a lack of punch and bottom end, but the Bowie tracks are more evenly balanced. Compared to some of the other radio broadcast CD releases that have gone on sale, this is one of the better quality ones.

The first disc is mostly dedicated to Nine Inch Nails who kicked off the night. This shows a point in time where they have gone full on Industrial Metal, and even some of the earlier classics such as "Head Like a Hole" and "Terrible Lie" are given a heavier makeover. Whether it is the recording quality, or the fact that that it is because they are playing with Bowie, but NIN don't bring it quite as hard and brutal as you would expect, as the Electronica parts of their sound are more prominent than the guitars. Perhaps they intentionally softened their sound a little bit to match Bowie's sound. It's interesting because Bowie and NIN must have had two very different fanbases, and some of the fans who have followed Bowie since the 60s may have had a hard time adjusting to Trent Reznor's chaotic soundscapes. That said "March of the Pigs" is a real kick in the face, and the live rendition is awesome because it lasts much longer than the studio version with an extended outro. "Wish" and "Burn" are also full of Punky and Metal energy. Trent Reznor turns in a fantastic vocal performance all around. I've heard so many live NIN recordings from across their career and his voice never seems to falter.

When you get to track 12, the wonderful synth chords of "Subterraneans" kicks in and the crowd go wild as Mr. David Bowie enters the stage. Rather than NIN finishing their set, they stay right where they are and join him as a backing band, something you rarely see at shows these days. Trent Reznor then duets with Bowie on a fantastic rendition of "Scary Monster's (And Super Creeps)" that sounds like a bonafide NIN track. Bowie handles the verses and Reznor screams the chorus! Bowie then returns the favour by doing vocal duets of NIN songs "Reptile" and "Hurt". Whilst it is so cool to hear Bowie adding his magic touch to one of NIN's most iconic songs, this rendition of "Hurt" feels a little soft, and the super heavy doomy finale just isn't there.

After "Hurt", Reznor strips back his vocal presence and Disc 2 is basically straight up Bowie territory. One disappointing aspect of this performance is there is a distinct lack of hits. Bowie mostly plays songs from the album he was touring at the time, "Outside". Produced by Brian Eno (who worked with him on the Berlin Trilogy), this album was seen as a real comeback and it does feature some fantastic songs. Bowie's rendition of "I'm Deranged" is a huge highlight. This song later appeared on the Lost Highway soundtrack, which was compiled by none other than Mr. Reznor himself, so I am glad they chose to perform this one together. "Outside" showed a strong Electronic influence, so it goes together well with NIN's earlier performance. That being said though, Bowie's Electronic rendition of "The Man Who Sold the World" completely fails to hit the mark, with that legendary guitar hook being absent. The rendition of "Under Pressure" somehow sounds way cheesier than the studio version too. Strangely most of the "Outside" era tracks seem to work better than the few classic tracks he does play, aside from "Andy Warhol" which works really well.

Bowie's side of the performance is surprisingly a bit of a mixed bag, though if you are a fan of the "Outside" album, it is definitely worth picking up. I love Bowie, but I love NIN even more, so I couldn't resist picking this one up. Whilst there are few blips in quality along the way, there is more than enough awesome material here and is well worth the asking price. It would be lovely if this bootleg got an official release with a proper remaster and perhaps an accompanying DVD/Blu-Ray. A truly unique show and a fantastic chronicle of two utter legends! 7/10.

#310: DEAD PREZ - LIVE IN MANCHESTER

Dead Prez are a Political Hip Hop duo from Florida, best known for their hit debut album "Let's Get Free", which spawned the classic "Hip Hop", used as the theme song for Dave Chappelle's Show. I've not heard of Dead Prez touring so often, so I was excited to go and see them perform at Band on the Wall in Manchester. Unfortunately, the show ended up being marred by the biggest talking point... Dead Prez turned up 2 hours later than scheduled, not taking the stage til 11pm!

Now misfortunes can happen at any organised event. Manchester has had an abysmal traffic situation recently. Roadworks everywhere you turn. Surely it is excusable for a band to turn up so late for a show right? Oh wait... The reason they were late is because they weren't happy with their hotel room and refused to go on stage until they got something fancier?! Damn...

So Dead Prez were scheduled to take the stage at 9pm, with a curfew of 10.30pm in place at the venue. An excited, packed out crowd waited patiently, listening to Hip Hop classics over the speakers, spending their hard earned cash on drinks at the bar. 9.30pm rolled around and still no sign of the show starting... By 10pm people were starting to get irritated. Then 10.30pm rolled around it there was a bad tension in the air, like things could kick off at any minute. Me and my friend actually decided to leave, but we happened to bump into another friend in the lobby and ended up chatting... Then all of a sudden it was 10:50pm and as we were about to give up and go home, we heard someone shout over that they were actually in the building now! And it was true. First the towels and bottles of water appeared on the stage. Then the DJ got out his laptop. And after about 10 minutes of disbelief, Dead Prez ACTUALLY took the stage!!!

Unfortunately for Dead Prez, they didn't actually get to perform to a packed out crowd. A good chunk of the crowd had gone home before they even entered the building. It's sad because I bet even some of the die hard fans had to give up and leave, after all the show should have finished half an hour before they even started, and some people have to get their last trains or get up early for work. And to rub salt in their wounds, Dead Prez were greeted with a round of boos from the crowd. What really annoyed me even further is that the DJ moronically came on and kept shouting "ARE YOU READY FOR DEAD PREZ?!?!" Erm, yes, we were ready TWO HOURS AGO!!!

In fairness to Dead Prez, they did still put on an hour length performance, which is very generous of the venue as it could have got them into trouble going so far over curfew. And the duo did issue an apology for their tardiness. Many of the die hard fans seemed to be won over who were going crazy at the front, but I was so annoyed and disappointed that I just couldn't get into this gig. A lot of the crowd, and the energy had vanished. The duo M1 and Sticman did have a very good chemistry together, and they have some great lyrics, but even their hour long set was a very mixed bag. They didn't really explore their classic debut album enough. We were treated to a great rendition of "They Schools" and the crowd went wild when they played their anthem "Hip Hop" near the end of the show, with it's slamming bassline and on point lyrics. But inbetween that there was far too much yapping. Considering they were already 2 hours late, the duo just talked and talked between songs, when we just wanted to hear some tunes. Also there were some really bad, cheesy and very dated R&B cuts thrown in, which just seemed to totally contradict what this band were even about. A track called "Dirty White Girls" completely failed to hit the mark. 

I just don't understand how an artist can come all the way from America to perform such a lacklustre show. A true artist wouldn't let their fans down so bad, and nothing should be more important than playing the damn show and giving it their all! The show felt rushed, and the DJ didn't even use real decks. The fact that a dispute about a hotel room could be more important than performing music is completely inexcusable and it makes me think that they were just in it for the money. When they came on stage spitting their deep political poetry and asking "Do you wanna hear REAL HIP HOP?!" it just came out as so fake and phoney considering the circumstances. Absolutely one of the most disappointing shows I have ever been to. I actually feel bad for Band on the Wall and the promoters because I doubt any of it was their fault, and they have probably been hit by a wave of angry fans in the process. People have had their precious time and money wasted by Dead Prez. Fortunately Band on the Wall have offered ticket holders free tickets to see Smif N Wessun perform next week, in a very generous gesture. After this I wonder if Dead Prez will ever even tour the UK again, but if they do, they better bring their A-game and have some respect for the fans. 3/10.

March 17th 2016 @ Band On the Wall, Manchester.

#309: BOSS KELOID - HERB YOUR ENTHUSIASM

2016

Stoner/Sludge Metal

Black Bow Records

"Herb Your Enthusiasm" is the second full length LP by Boss Keloid. Though the band were formed in Wigan, they have taken up a spiritual residence at nearby Bolton's The Alma Inn, one of the centre points of the Manchester Metal Collective, or North West Metal scene, whatever you want to call it. Boss Keloid's debut album "The Calming Influence of Teeth", garnered strong reviews, throwing Mastodon, Meshuggah and Tool into a blender. Since then, songwriter and riff merchant Paul "Uncle Crow" Swarbrick has recruited his younger brother Adam to step in on bass guitar.

Over a year before Boss Keloid even set foot into Chris Fielding's (Conan) Skyhammer Studios to record the album, they made the bold decision to perform nothing but new material at their live shows. This is something that could have easily alienated fans of their debut album, but having been at many of their shows along the way, I can assure that the reaction has been phenomenal, and their fanbase has certainly expanded. Rehearsing like mad and playing nothing but new material must have been a challenge even for the band members, but the songs have evolved along the way and the chemistry between the new line-up has tightened and tightened. Boss Keloid never take an easy ride, and have pushed the complexity and depth of their music even further. If you have heard their debut LP, you will know that it is one of those records that demands repeat listens. They have a lot going on in their sound, and one of Keloid's finest signatures is their love of super tech riffage. Complex time signatures and winding guitar scales are something that seems to come so naturally to the band.

Compared to their debut LP, "Herb Your Enthusiasm" overall feels a tiny bit more accessible. It hits you more directly and explores more melodic territory, even throwing in a big chorus here and there. But that said, none of the colossal heaviness and complexity has been softened or sacrificed. "Herb Your Enthusiasm" almost plays like a concept album, with each track exploring the all the feels and effects of smoking weed. Though this has kind of become a Stoner Metal cliché, it actually is turned into quite a deep running motif throughout. The very first lyric of opening behemoth "Lung Mountain", "Somebody's watching, making a judgement..." suggests paranoia. Whilst "Cone" explores the moment the weed hits, "I feel a symptom coming, I feel a relaxation in my brain". Rather than straight up worshipping the herb, it feels more like they are thinking about every aspect of it, the ups and the downs. There are songs that feel like a spiritual awakening, whilst the opening riff of "Cone" is damn right evil, making the track feel like a bad trip is unfolding.

Just like Slabdragger's latest album "Rise of the Dawncrusher", Boss Keloid have made an album that you need to take your time with. This hour long beast can feel overwhelming in one sitting, but there is so much depth and versatility here that you know the album is worth coming back to again and again. Fortunately the album pulls you in so well, with what is possibly the greatest song they have ever written. "Lung Mountain" has this beautiful way of combining twiddly techy riffs, with straight up pounding Sludge, in a truly masterful way. One of the things I love about Boss Keloid is that they aim higher than most of their peers. Whilst most bands in the Doom and Stoner genre are comfortable just to let each power chord ring out to achieve heaviness, Adam and Paul mix it up much more. The use of arpeggios is not something a lot of bands in this genre are doing, and it makes them stand out so well. This is a band that clearly prefer Sleep's impossibly complicated "Dopesmoker" LP to the more accessible "Holy Mountain". Of course, making an album full of odd time signatures and busy guitar work could end up wearing out the listener, so it's great that we have tracks like "Axis of Green", that are able to wind things down. This is a huge standout on the album that is just a pure Metal banger, featuring a massive chorus. Just when it starts to feel too technical and progressive, Boss Keloid know when to scale things back and let the music breathe.

The biggest difference between "Herb..." and their fantastic debut album, is that the band feel more comfortable with their own sound. Whilst I can easily compare their debut album to Mastodon, Meshuggah, Sleep and Tool in equal measures, "Herb..." is an album that is much harder to find comparisons with. I have a feeling that guitarist Paul knew he was onto something with his signature evil twiddly, winding and weaving scales, and he has found the confidence to deliver more of them and explore them further. None of the other Sludge bands in the Manchester Metal Collective are really doing this, nor many other bands in the genre, and it is what sets Boss Keloid apart and what makes them so fascinating. Another important part of Boss Keloid that must be mentioned is their powerful frontman Alex Hurst. The Jamaican born vocalist delivers a huge array of different vocal sounds across the album. He can do screams, growls and clean vocals phenomenally well, sounding like the Captain Caveman of Metal! The big choruses like those in "Axis of Green" and "Lung Mountain" feel incredibly soulful and powerful, whilst on "Cone" he has a more muted, and whispered performance, giving the song a sinister, paranoid edge. He can really just do anything with his voice, making me think of the diversity of Mike Patton. One of the coolest moments of the album is in the last minute and a half of "Lung Mountain". Just when you think the song has winded down and finished, it kicks back in with an almighty riff and Alex sings this tribal "ooh, ahh ahh". In fact you could even say it is like a better, less cheesy version of Disturbed in this moment (oh yeah... I went there!)

If you like simplicity in music, then "Herb Your Enthusiasm" might be too much of a challenge for you. Boss Keloid aren't the kind of band to take the easy route and make an album of Sabbath worship. They have created a very original sound, and they want to challenge the listener. Even in a live setting, this is a band you have to take time with and think about. The band members are constantly pushing themselves, exploring new horizons and to be a fan of the band is to take that journey with them. "Herb Your Enthusiasm" is a deeply spiritual and headfucking record. It is one of those rare experiences that will just blow your mind. This is an album that can easily sit alongside the magnitude of Tool's "Lateralus" and Neurosis' "Times of Grace". Outside of the Metal realm, it shares the deep spirituality of Miles Davis' 1970 Psychedelic Jazz odyssey "Bitches Brew", or the outstanding eclecticism of Radiohead's "OK Computer". If you want to see the ground break, if you want to be challenged and have your mind expand, this is the album for you. 9/10.

#308: SLABDRAGGER - RISE OF THE DAWNCRUSHER

2016
Doom/Sludge Metal
Holy Roar Records

 

 

 

Slabdragger have played plenty of gigs in recent years, yet somehow it has taken them 5 years to follow up their fantastic debut LP "Regress". But considering the complexity of their music, I don't really blame them. First Slabdragger took us to the peak of the highest, holiest mountain, and now they have taken us on a trip to outer space, into the not too distant future, where a giant space station threatens to plow through the earth's core! Not only does the comic book style gatefold sleeve reflect this, but the crushing brutality across this entire hour length behemoth will have you picturing colossal drills smashing through your house and into your brain!

 

"Rise of the Dawncrusher" consists of 5 epic tracks. Aside from the 5 minute "breather" "Evacuate!", the tracks here average the 10-15 minute mark. The record opens with a riff worthy of Sleep, balancing just the right amount of Blues, Psychedelia and Stoner vibes. A solid opening, that straight away expresses just how well produced this album is. For a three piece their sound is absolutely massive, taking the supreme heaviness of acts like Conan, and somehow adding even more depth to the mix. The bass of Yusuf Tary is absolutely flattening, and he accomplishes so many different sounds across the whole album. The whole trio bring such a complete, versatile and wild performance. The first two tracks on the album are relatively accessible. Whilst not re-inventing the rulebook or anything, they are extremely solid and heavy as hell tracks that will hook you in straight away. "Evacuate!", being the only short track on the album, is fast and thrashy. Whilst not sacrificing any of the heaviness, it is the only real breathing space on the album (if that counts). But be warned, from track 3, "Shrine of Debauchery" onwards, the album really opens up. Suddenly "Rise of the Dawncrusher" goes from being a solid Stoner Metal album, to an absolutely epic and complex juggernaut.

 

Usually I turn to Holy Roar Records when I want to hear some of the best Mathcore and Post Hardcore going, with acts such as Svalbard, Employed to Serve and Rolo Tomassi being some of their finest signings, so it could seem like Slabdragger might be aside from that audience, but the last half of this record is seriously complex and full of jagged riffs, with so many twists and turns, and surprises around every corner. This is the cornerstone of any great Holy Roar release. Like any great album, it is one where you will hear something new with each listen. The lengthier songs in particular take time to get to know intimately, and with so many great riffs and ideas on show, you will want to take the time to revisit them. This is a record that has a lot of repeat listening quality, so expect to come back to it throughout the year and still find new surprises. "Dawncrusher Rising" has to be my pick of the bunch. This trio just pour everything into this song and it will knock you sideways. I love the way the two vocalists take on different roles throughout the record, but during the crescendo finale of this song, the two come together to scream "DAWNCRUSHER RISE" and it is absolutely ear splitting. You wouldn't believe it takes just three people to make such a massive and well rounded sound, and their breathtaking live shows prove it is certainly no fluke or studio trickery. Slabdragger come at you raw, yet use the expanse of the studio to deliver a meaty, 3 course meal of destruction. Though "Dawncrusher" can be overwhelming in one sitting,this apocalyptic avalanche is likely to keep me entertained throughout the year as I am already excited to return to it. I think Slabdragger have made an even bolder statement here than on their fine debut, and this will be one of the Sludge albums to beat in 2016. 8/10.

#307: BARBARIAN HERMIT - DEMO MMXVI

2016

Sludge Metal

Self Released

I first saw Barbarian Hermit about a year ago on a bill with BongCauldron and Pist at the tiny Kraak Gallery in Manchester. At the time they didn't strike me as the most original sounding band, or the most confident performers, but they still put on a great show with a desert stricken Kyuss kind of sound. Since then I must have seen them perform another 5 or 6 times, and the growth this band has taken is absolutely astonishing. In a relatively short time, they've gone from being the opening slot band to being headliners, before my very eyes. When you see them perform in their hometown Manchester now, you've got to fight your way to the front of the stage if you want to catch a glimpse, as I witnessed first hand at the MMC Weekender that took place this January at Rebellion Bar; a new hotspot and centre point for the Manchester Metal Collective, a scene that is bursting at the seems with not only talent, but a true sense of community. It feels weird to think that Barbarian Hermit are relative newcomers to this scene, because it feels like they are the ones in command now!

And on that same page of thought, "Demo MMXVI" is the very first release by Barbarian Hermit. And I absolutely fail to believe it... Why? Because... Just listen to it! DAMN! Even some of the greatest Metal bands out there like Kyuss, Crowbar and EyeHateGod who have inspired the Hermits could listen to this and think "Fuck, our first demo was nowhere near as great as this!" You only need to spend about a minute of opening track "Mermaid" to see where I'm coming from. For a first demo, the recording quality, the mix is just spot on. These guys have a hell of a sound going on! But what shrines through the most is how clear Barbarian Hermit's vision is. Over these 6 incredible songs you will hear some of the most CRUSHING, FLATTENING and APOCALYPTIC riffs!!! Just stick on "Burn the Fire" if you don't believe me!

There are so many fantastic moments on every song of this EP. The first time you hear the guys properly kick into full force on "Mermaid" is one of those holy shit, chills down your spine moments, as they have such a rich and thick sound that will blow your balls (or ovaries) off! The finale of "Tigerhorse" in particular is exquisite, with vocalist Si delivering a truly knockout performance. You'll probably end up screaming along as you listen, and then end up being forcibly removed from the library!

"Burn the Fire" will make you shit your pants! I'm not quite sure how exactly one burns the fire, but this song is the number 1 cause of the furniture in my house being smashed to pieces! This song has been my metal anthem of the year so far, I've broke the speed limit to it in my car, it's kept me awake in bed even when I've got to be up for work at 9am, and I've even gone poops with it blasting out of my I-phone, which gave me a new appreciation for the title! This song gets me every time and my neck will never forgive me! It boasts one of the catchiest and tastiest riffs I've ever heard, starting with Chris Wood's rumbling fuzz bass and kicking in about 1 bar before you expect it to, and then changing your life forever! Monumental is an understatement! 

"BxExAx" is another massive favourite, whose opening lyrics make me think of hellbent killer robots turning on their human masters in some futurist dystopian nightmare. The main verse riff sounds a bit like the breakdown riff from "Raining Blood" slowed down and thrown into a sludgy pit! This song is so cold and brutally heavy that it even makes me think of bands like Godflesh and Meshuggah, who embrace this mechanical, Sci-Fi, Nostromo kind of feel to their music. "Widowmaker" is a truly epic riff monster that has been punctuated by an awesome music video (also check out "Burn the Fire"'s green screen gone haywire video). Whilst "Alma" manages to show their versatility, switching from rawkus pounding Thrash worthy of early Sepultura, before out of nowhere switching into the sweetest Doom riff. I've seen people's necks snap into pieces when they perform this live! "Alma" is lovingly named after The Alma Inn in Bolton, one of the other focal points of the astonishing North West Metal scene.

The fact that this demo comes on a CD-R in a minimalist paper sleeve with the band's logo on is almost insulting, because this album length 40 minute behemoth is so good that I feel like it should be on the shelves of HMV, selling at £9.99 with the full on digipak and booklet treatment, optional gatefold vinyl edition, perhaps with some sweet Dominic Sohor artwork! This isn't a demo! This is the REAL FUCKING DEAL!!! But perhaps I shouldn't be insulted, because a true hermit will soldier on in their journey without the need for the glitz. Or perhaps Barbarian's next release is going to be so good it blows this stuff out of the water (which would be an extreme challenge indeed). All 5 band members have poured their heart and soul into these 6 songs and you can feel it. Such tight playing, such ferocious vocals, the fuzz of the bass, the harmonising riffs throughout "Mermaid", this band feel like they have been perfecting their sound for over a decade and are playing at their peak!!!

Sure I can think of plenty of bands who Barbarian Hermit sound similar to and have taken inspiration from. You can hear bits of Down, Crowbar, Kyuss, EyeHateGod, Sabbath... Sure, whatever. But when you put this CD on... You forget that ANY other band exists. It is extremely different for a band to play a style of music that has been done to death and isn't by any means original, yet make it sound completely fresh, new, exciting and groundbreaking all at the same time. You can put this band on a bill full of other great Doom bands and they will come out on top! Barbarian Hermit have walked this tightrope, and almost came out of nowhere doing it. I don't think any of us who attended that Kraak gallery gig were at all ready for it! If you haven't heard this demo yet, then GET INVOLVED RIGHT NOW!!! This is one of the finest snapshots of the incredible Metal scene that is happening right now in Manchester! Get the CD, wear the T-shirt, see the live show and you'll never look back! 10/10.

#306: THE KILLERS

1964

Directed by Don Siegel

Neo-Noir, Crime, Thriller

The Killers is the second major film adaptation of Ernest Hemmingway's short story, following the critically acclaimed 1946 version which was a major player in the Film Noir movement. Whilst the former black and white film lurked in the smoke and the shadows, this adaptation is in full colour and is actually quite a vibrant looking film. It looks especially stunning in the Arrow Academy Blu-Ray edition that I watched it in, with a loving and warm restoration. It looked so sharp on my TV that I was convinced the beads of sweat on Lee Marvin's forehead were actually drips of water on my TV screen! The Killers has the acclaim of being the first made for TV movie ever made, though it was soon released in cinemas too because it was deemed too violent for TV broadcasting at the time.

Like the Film Noir adaptation before it, The Killers is built on groundbreaking use of flashbacks and scenes told out of chronological order. Something that eventually became Quentin Tarantino's signature style. Instead of revolving around a boxer like in the original film, the protagonist Johnny North is a racing driver in this one. The loose premise is roughly the same, but Don Siegel (director of Dirty Harry and Invasion of the Body Snatchers) had the freedom to change the details and make it his own. I felt that the 1946 version of The Killers started very well, but ended up losing me by the end. It relies too heavily on the flashbacks and got a little muddled along the way. I felt like this version of the Killers was not only more coherent, but better paced too. Aside from a few hit and miss romantic scenes, and dated driving scenes with a car in front of a projector screen, The Killers flows incredibly well and is held together by brilliant dialogue, great performances and interesting subplots. As long as you pay attention to who is telling each flashback and where in the timeline each one takes place, the film won't lose you.

The Killers has a stellar cast that plays like a greatest hits collection of the 60s, with Lee Marvin, John Cassavetes, Angie Dickinson and future president Ronald Reagan in his last screen role, the only time he played a villain. But to me the absolute standouts were John Cassavetes as the rebellious and relentless racer Johnny North, and Claude Atkins, his manager and mechanic trying to keep him grounded, putting in an emotionally heavy performance. Lee Marvin and Clu Gulager play the ice cool killers who go around interrogating many of the characters in order to find the money. They dazzle on screen, dressed in suits and sunglasses. Not only was the whole structure of the story a huge inspiration on Tarantino, but the two killers in this film could have been kindred fathers of any of the Reservoir Dogs. Both this and the 1946 Killers adaptation are both very much a snapshot of the time they were made and both hold great merit. Which one you prefer is down to personal preference, but for me I think this version of The Killers wins because of a cooler cast, more coherent plot and it's a pretty badass film all around! 8/10.

#305: FOR ALL MANKIND

1989

Directed by Al Reinert

Documentary

For All Mankind is a spectacular film made up entirely of stock and TV footage from the actual 1969 Apollo space mission to the moon. The film uses the album "Apollo" by Brian Eno (with Daniel Lanois and Roger Eno) as it's soundtrack and although the LP was released 6 years before this film, it made for a perfect choice of music to accompany it. The beauty of this film is that it manages to tell the story from mission control, to take off, to travelling, to landing, exploring the moon and coming back home again, but without having to use talking heads, reconstructions or anything over than the actual footage shot at the time. Think of it as more of a compilation of footage than a documentary, but it works very well. There is probably a lot of footage here that may not have been broadcast at the time, and of course some of the most famous footage is included, such as the astronauts walking the moon and Neil Armstrong's famous "This is one small step for man, one giant leap for mankind" speech. Despite the fact that I do not believe they actually went to the moon (in fact the footage here just reinforced that feeling even more), I still thought the footage was very beautiful and moving, and there are some spectacular shots of outer space and the earth. Whether you think it was a hoax or not is a moot point, because For All Mankind still manages to take you on a journey to outer space. 8/10.

#304: STATION TO STATION

2015

Directed by Doug Aitken

Documentary, Music Film

Station to Station is a unique documentary film that includes 62 films into one, with each short film lasting just 1 minute in length. Each of these 62 films was made on (or near) a train travelling across the whole of America. Many of the segments feature musicians and artists performing on (or near) the train. There are some very recognisable faces including Thurston Moore, Jackson Browne, Cat Power, Savages, Dan Deacon and more. If you are into your music you will probably find something to enjoy from some of these segments, but because they each run at a minute long, that enjoyment might not last. Considering it is a film about a train, there is actually not a lot to do with trains or travel in this film. Whilst the concept of Station to Station is admirable, I didn't really understand the point of it. Why did they need to get a bunch of bands performing on a train travelling across America for the purposes of a documentary? I'm not sure, other than that it's pretty cool. Imagine if more train journeys were punctuated with Thurston Moore jamming "Schizophrenia" on his guitar?! Station to Station is very well filmed, but with 62 films coming together it is a highly mixed bag that is never going to enthral its audience all of the time, and when it does, you end up wishing it was more than just for a minute long. For a film about a train travelling across the whole of America, Station to Station sure is directionless. 5/10.