EP REVIEW: HUNDRED YEAR OLD MAN - BLACK FIRE

HUNDRED YEAR OLD MAN
BLACK FIRE
Gizeh Records
Sludge Metal, Post Metal, Post Hardcore.
Listening Format: CD


Fresh from conquering the New Blood stage at Bloodstock Open Air Festival, Leeds based sextet Hundred Year Old Man are looking to conquer the world. The anthemic 'Black Fire' is a hell of a way to accomplish such a feat. Back in 2015, HYOM released their self titled EP, consisting of three very lengthy pieces of incredibly dark and haunting Sludge Metal, faintly soaking in essences of Black Metal and Drone. Though it meandered a fair bit, it remains an impressive and suffocating debut effort. After a bit of a lineup change, including the addition of new lead vocalist Paul Broughton, HYOM have kept the best parts of their original sound, and fused them with a slightly more urgent and Hardcore influenced sound.

'Black Fire' may breach the ten minute mark, but it genuinely is about as immediate as Post-Metal, Atmospheric Sludge gets these days. The Sludge behemoth burns into life with some massive, pounding, slow atmospheric riffs. The lead vocals of Paul Broughton really kick you in the face with these utterly ferocious screams, over a chugging riff that Amenra would be proud of. The song gradually ebbs and flows through teasing restrained motifs, and back into full on explosions of chaotic fury. At some points there are up to three different vocal screams trading off, dense arrays of textured electronics and colossal guitars, all coming together to create something truly earth shattering. Just after the nine minute mark, the song picks up to an almighty crescendo that gave me chills down my spine!

Aside from the lead single, there are two more tracks on the disc. The first is a surprise cover of Pink Floyd's cult classic 'Welcome to the Machine'. The slow, atmospheric dirge kind of seems perfect for an Atmos-Sludge re-invention, and HYOM have taken a fair stab it. Their attempt is suitably just as slow and spacey, allowing them to reel out textures even further, sounding like the electronics and possibly some synths have taken the forefront over the guitars in the mix. The half clean, half screamed kind of vocals don't quite fit, sounding much more restrained and uneventful than the sheer force of 'Black Fire'. HYOM show their versatility and stretch their abilities here, but ultimately this cover doesn't quite represent just how good this band are. The disc finishes with a demo track, 'Disconnect'. This track sits somewhere between the urgency of 'Black Fire' and the sedated sorrow of 'Welcome to the Machine'. Being a demo, the mix isn't quite as fleshed out, but it is certainly a teaser for great things to come, a track I'd like to hear expanded upon.

If you are just here for the title track, then 'Black Fire' is an exemplary statement of how exciting Sludge Metal is sounding these days. Post Metal (or Atmos-Sludge) is certainly in a resurgence, oddly in a tangent with the fading and meandering sounds of Post Rock. Hundred Year Old Man honour the masters such as Neurosis, Isis and Cult of Luna, but inject something fresh, modern and cutting edge into this formula. 'Black Fire' is a tremendous achievement from a band in transition, and I can't wait to hear their full length debut. The two "b-sides" don't quite hold the same power, but I would say 'Black Fire' should be essential listening for fans of the genre. 7/10.

ALBUM REVIEW: EMPLOYED TO SERVE - THE WARMTH OF A DYING SUN

EMPLOYED TO SERVE
THE WARMTH OF A DYING SUN
Mathcore, Post-Hardcore.
Holy Roar Records.
Listening Format: Vinyl










Employed to Serve return with their second full length LP, 'The Warmth of a Dying Sun'. The Woking quintet's 2015 debut album 'Greyer Than You Remember' was fantastic, showcasing a ragged and chaotic sound combining Post-Hardcore elements with full on Mathcore, showing influences from the likes of label mates Rolo Tomassi, as well as Dillinger Escape Plan and Botch. Since then the band have been touring and playing shows relentlessly, honing their craft and wowing audiences with their destructive, high energy live performances. This has lead to a fairly big anticipation for this sophomore record.

The most notable thing about this follow up record compared to their debut effort is that it isn't quite as wonky, or jarring, or as unpredictable. This is to say that it doesn't just hang on the Mathcore tropes of delivering highly visceral, fast music with odd song arrangements and riffs that jump around a lot. Some of those Mathcore elements are of course retained in their sound, but feel more controlled. 'The Warmth of a Dying Sun' is built on a greater sense of cohesion and linear songwriting than its predecessor. But before fans of the first record start to let out a big groan, let it be known that this does not at all mean that Employed to Serve are sacrificing anything or going soft on us!

From the moment opener 'Void Ambition' kicks in, it is evident than we are still very much in for a very visceral, aggressive and punishing listening experience. In fact this song is one of the more Mathcore oriented songs that weaves fast staccato tech guitar playing, with heavy as fuck dissonant breakdowns and vocalist Justine Jones awesome ear splitting screams. But as the record goes on we can hear influences of Deathcore, particularly in the way guitarist Sammy Urwin adds in his guttural backing vocals that compliment Justine's raw screams very well. Employed to Serve also unashamedly reference slight influences of Nu-Metal in some of the riffs here as well! Again, before you start to groan, hear me out! It is no secret that the band are huge fans of Slipknot (going as far as to sell their own brand of boiler suits on tour). Tracks like 'Good For Nothing' and 'Platform 89' (making an excellent pairing in the tracklist) will suddenly just burst out into these downtuned groovy riffs that would not feel out of place on an early Slipknot record. However because of the absolutely crisp and monstrous production on this album (a notable step up from the debut), these riffs sound absolutely massive and crushing! Stand out track and lead single 'I Spend My Days (Wishing Them Away)' is built around a riff that Deftones would have been proud to have composed at any point in their discography. The vocal production on this track in particular is as dynamic as Deftones too. Even the album sleeve featuring a sticker that reads "parental advisory, crushing content" feels like a nod to Nu-Metal nostalgia!

'The Warmth of a Dying Sun' is also a very dark album lyrically and emotionally. The title track is a huge standout, beginning with a recording of an ominous phonecall before unleashing an unholy barrage of jagged and unforgiving riffs and screams, proving that none of the intensity from the first record or their live performances has been lost here. The track even throws in some eerie clean vocals, making this one of the most ambitious songs the band have ever crafted. After nine relentless and brutal tracks, the album concludes with a lovely softer piece lead by Sammy's hushed vocals and clean guitars in the verses. Ending an album on a "ballad" (for lack of a better word) is perhaps a little bit cliche, but 'Apple Tree' feels as genuinely heartfelt and expressive as anything else on the record, reminding me of 'Artist In the Ambulance' era Thrice.

Employed to Serve have really come through and done exactly what they had to do to deliver a successful sophomore album. This concise 10 track album is not only a step up in terms of production, using a wider pallet of sounds and details, but by actually curbing some of the chaos in favour of implementing more linear moments, it has made the songwriting much more cohesive and memorable throughout. 'The Warmth of a Dying Sun' is intense, it's very heavy and it is brimming with passion and emotion. I'm hearing one of the most exciting Hardcore/Metal albums of 2017 so far. 8/10. 

LIVE REVIEW: OATHBREAKER + SVALBARD & PIJN - MANCHESTER

Oathbreaker's latest album 'Rheia' landed itself in the #1 spot on my best albums of 2016 list (which you can read here) so it's safe to say I was very excited about seeing their sold out show in one of Manchester's very finest gig venues, The Star & Garter!

PIJN

Pijn (I previously thought it was pronounced like "pigeon", but apparently it is actually pronounced "pine"... Hope I've got that right) are one of the latest signings to an already stellar Holy Roar Records roster. The new band have been building up a lot of momentum over the past six months and since I last saw them perform as a trio with Pelican, their live show has added two extra members, playing violin and lap guitar/electronics respectfully. Considering over ten people performed on their debut EP 'Floodlit' (which was released on this very day), perhaps the Pijn live experience could end up expanding even more in the future?!

Their show tonight was belting, with pounding and rumbling drums that gave the lengthier compositions fantastic energy and transitions. The guitars were suitably sludgy and swampy tonight, with an array of dark and textured chords that were heavy and dreamy at the same time. Pijn performed some new material that felt darker, slower and at times really menacing, with elements of hardcore and sparingly used screaming vocals seemingly left over from their previous incarnation Old Skin. It was EP opener 'Dumbstruck & Floodlit' that left the biggest impression on me, journeying from major key Post Rock and chugging riffs in the vein of Pelican, and gradually transitioning into something more akin to Neurosis at their most raging. The addition of the violins and the lap steel guitar only enhanced the impact of their songs tonight, with massive crescendos that nearly reached Godspeed levels of epic! Pijn are a band that are growing and moving forward and I feel like the best is yet to come! 8/10.

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SVALBARD

"WE'RE FUCKING SVALBARD FROM BRISTOL!!!" Guitarist and vocalist Serena Cherry shouted before ripping apart the Manchester crowd with their ferocious and emotionally charged blackened Hardcore. The Bristolians play hard and fast, suitably taking the epic shoegazey tremolo guitars recently favoured by headliners Oathbreaker and combining them with an insane display of pounding thrashy drums and blastbeats, giving the quartet a pinch of crusty Punk attitude. 

Svalbard came at the crowd fiercely, with their breakneck speed and dual screaming vocal trade offs reminiscent of Circle Takes the Square, but their songs also evoke some achingly beautiful moments too, whether it is in the epic Post Rock inspired melodies of opener 'Perspective', or the sheer earnest honesty of their lyrics and vocal delivery. Svalbard are a band whose music cuts through your soul. They not only have the ability to pack a mighty punch with their blistering force, but their melancholic chord progressions and the sheer impact of their collective sound is enough to leave a lone tear streaking down your face. 9/10.

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OATHBREAKER

Unfortunately all of Oathbreaker had come down with a nasty case of flu whilst touring the UK, but you would never have even guessed it based on tonight's performance. A sold out crowd waited silently and awestruck as frontwoman Caro Tanghe snuck onto the stage, draped in long black robes, her face obscured by her hood and long hair. She began singing all on her own as the opening siren of '10:56/Second Son of R.' began their set. Atmospheric clean guitars soon sprang to life building up to one of the most impressive openings to any show I've seen. The band erupted into glorious thundering tremolo riffs, insane blasts and vicious, primal screams that open their stunning album 'Rheia'. The sold out crowd were instantly drawn into a hypnotic headbanging frenzy, and chills went down my spine just witnessing such magnificence.

Oathbreaker mainly performed songs from their latest album, and rightly so. Their sound has really evolved and transitioned from their Sludgy Hardcore upbringing, and it was amazing to hear their mixture of intense Black Metal and dreamy, shoegazy, atmospheric guitar parts in full force. Even through illness, the band gave it 110%, pouring so much emotion, energy and sheer intensity into their performance, as if the world would end tomorrow. As Oathbreaker have gone on, they have just got better and better at their craft, perfecting and tightening... In particular Caro Tanghe has never sounded as good as she does right now. Her screams tore the Star & Garter apart as if a malevolent force was haunting the old building, and her clean vocals rang out like an alluring siren.

After a selection of some of 'Rheia''s heaviest and most powerful songs, including 'Needles in My Skin', 'Being Able to Feel Nothing', 'Where I Live/Where I Leave' and 'Immortals', the quintet left us with a classic from their first album, 'Glimpse of the Unseen'. When THAT riff kicked in, the crowd just lost their shit, erupting into manic headbanging and circle pitting. This blackened Doom epic recalled Darkthrone's 'In the Shadow of the Horns', leaving us with a monument as dark and gritty as the Star & Garter itself. 9/10. 

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January 27th 2017 @ The Star & Garter, Manchester.

PLEASE NOTE: Because of the very dark conditions in the Star & Garter, the photographs used have been taken by me at different shows at Gullivers, Manchester and Brudnell Social Club, Leeds, taken on the 26th and 29th of January respectively.

DOUBLE LIVE REVIEW: MESHUGGAH + THE DILLINGER ESCAPE PLAN - LIVE IN MANCHESTER

In a rare alignment of the planets, Manchester was treated to a back to back visit from the two masters and pioneers of Tech/Math Metal as we know it. On the 19th of January 2017, Meshuggah performed at the 02 Ritz, with The Dillinger Escape Plan performing the day after at Academy 2 on what is likely to be their last ever show here. It was fantastic to see many of the same faces attending both shows in this irresistible double bill.

THE HAUNTED

(02 Ritz)

Opening for Meshuggah were fellow Swedish legends The Haunted, a band with just as much collective experience if you take into account them being an offshoot of Melodic Death Metal pioneers At the Gates. The Haunted frontman Marco Aro even joked that they aren't so bad for a bunch of old men! On paper, The Haunted did everything right tonight: They showed a true passion for their craft on stage, with plenty of high energy, which got the circle pit swirling. However their setlist tonight felt far too much like Thrash by numbers... They played plenty of tracks from their "classic" 2000 album 'The Haunted Made Me Do It', including fan favourites 'Bury Your Dead', 'Hollow Ground' and 'Trespass'... Songs I used to happily bang my head to as a teenager!

Perhaps it was because of the anticipation of Meshuggah delivering supreme brain twitching tech mastery, but The Haunted felt more like a leave your brain at the door act tonight. The endless barrage of chugging riffs, and melodic grooves soon became monotonous, and rather than feeling a hit of nostalgia, their riffs just sounded dated and old hat. 6/10.

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PRIMITIVE WEAPONS

(Academy 2)

Kicking off the night at Academy 2 was New York Post Hardcore band Primitive Weapons, signed to Dillinger's own Party Smasher Inc. label. Primitive Weapons had a strong energy and presence on stage tonight, with their lead vocalist lamenting on the woes of having Trump as president. Their sound clearly had a Dillinger influence, but was much more relaxed and less jagged. Their sound also mixed in some Stoner Metal influenced tones, at times recalling the high energy stomp of Clutch on 'Ashes or Paradise'. Primitive Weapons didn't particularly come across as anything vitally original or new, but had enough solid riffs, screams and raw energy to provide an entertaining warm up slot, leaving with a stirring and noisy finale. 7/10.

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Ho99o9

(Academy 2)

Now here was a surprise and a half! Where do I even begin to describe Ho99o9 (pronounced "Horror" I assume)???! So this New Jersey trio consisted of a live drummer, a tattooed dreadlocked man wearing a dress and a balaclava (yes really!) triggering samples and electronics as well as doing vocals, and another tattooed dude on lead vocals. Ho99o9 were seriously unpredictable and hard to pin down. They could go from a slow, eerie, bass heavy Hip Hop track one moment, to lightning fast Bad Brains inspired Hardcore Punk the next! Their setup as well as their crazy attitude definitely showed a strong Death Grips influence, with the use of noisy samples, ominous synths and half-rapped half-shouting vocals. Their drummer also reminded me of Zach Hill, as he absolutely battered the kit with a mixture of slow Hip Hop influenced grooves, and ferocious blasting hardcore!

Ho99o9 very much delivered that insane, deranged live energy that Dillinger Escape Plan fans crave, but also felt incredibly fresh and surprising. They also managed to get a raging circle pit going, with their frontman often coming into the pit to cause chaos whilst hurling open boxes of cereal into the crowd (YES REALLY!) Ho99o9 will go far with their chaotic antics and I forsee that this band will soon be getting hyped up by more popular reviewing publications than myself! ;D 8/10.

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MESHUGGAH

(02 Ritz)

The Ritz was plunged into darkness as an ominous piercing rumble of noise gradually escalated. Five silhouetted figures took the stage with their many stringed guitars, as mad applause threatened to drown out the electronic noise. From the moment Meshuggah launched into 'Clockworks' the crowd ripped into a headbanging fury and I had chills down my spine. There are certainly other fine Tech Metal (or Djent) bands doing the rounds, but when Meshuggah are before your eyes, they leave all of their peers in the dust!

Meshuggah could be accused of being a little static on stage, but compared to the insane antics of The Dillinger Escape Plan, they bring an entirely different type of intensity. Whilst the members largely stay still during their performance, it's the sheer precision of their playing that manages to mesmerise the crowd. Every single note is not only pitch perfect in delivery but utterly mindblowing. People in the crowd struggle to headbang in time to their constantly shifting odd time signature grooves, but their music leaves more of a hypnotic, trance-like feel on the fans. Some of their eerie, disonant quiet breakdowns like in 'Lethargica' summoned awkwardly placed walls of death amongst the more blood hungry in the crowd, but this is a band that left me standing in awe (and perhaps a little bit of drool).

Meshuggah's setlist tonight favoured their last three studio albums, aside from jaw dropping renditions of 'Stengah', 'Perpetual Black Second' and their Thrashy finale of 'Future Breed Machine'. As someone who has been listening to Meshuggah for over ten years now, I was slightly disappointed not to hear as many of their golden era tunes (their more experimental works from 'Chaosphere' to 'Catch Thirty Three' being their peak period for me), but I still walked away with my mind blown and goosebumps. Meshuggah are not only the masters of their own craft, but pioneers of an entire Metal subgenre, and to witness them work their magic in the flesh was an unforgettable experience! One of the tightest live bands I will ever see! 9/10.

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THE DILLINGER ESCAPE PLAN

(Academy 2)

Shortly before the release of their latest album 'Dissociation', The Dillinger Escape Plan announced that they would be disbanding, but thankfully not before rolling out one last world tour. Naturally the tickets for this show sold out very fast after the news broke, and rightly so as Dillinger are built on a reputation of being one of the most exciting live acts to ever grace a stage (as well as gracing the crowd as well!) This would be my fourth time in a row seeing the Matchcore pioneers play Manchester and a show I had been highly anticipating.

From the second Dillinger hit the stage, the crowd erupted into a whirpool of chaos. As the madness of new single 'Limerent Death' ensued, out of nowhere I found myself being flung about and smashing into strangers, as the harsh strobe lighting made it difficult to even tell which way the stage was! By the time they launched into one of their ultimate tunes 'Panasonic Youth', crowd surfers were already flying over my head. This is the sheer beauty of a Dillinger show because nothing can stop that huge ball of energy from igniting. The band themselves rush all over the stage, climb over amps and walls and dive into the pit, somehow still managing to play those mind-boggling staccato riffs and jagged rhythms. A complete stranger grabbed me and kissed me on the forehead, donning the biggest smile I've ever seen, because that is the sheer rush of feelings and energy that a Dillinger show manages to evoke. Even during the most raging circle pits, everybody is connected and looking out for each other.

Dillinger raged through what was basically a "best of" setlist, playing material from all the albums (sadly I've never got to hear 'Unretrofied' or much of 'Irony Is a Dead Scene' live). A huge highlight for the older fans was an absolutely brutal rendition of 'Sugar Coated Sour'. It wasn't just the insanely brutal songs that slayed tonight though, as some of their more accessible songs with clean vocals, such as 'Black Bubblegum' and 'Milk Lizard' were equally as magical. Fans in the crowd had their arms reaching for the sky singing along at the top of their lungs. It reminded me just how eclectic Dillinger's music is, not just aimed at ultimate carnage, but they had the ability to write catchy hits too!

Dillinger didn't bring it quite as hard as on previous occasions I've seen them, but they really are suited to playing smaller venues where they can truly cause havoc. But the setlist was fantastic, and they still stand as one of the greatest live acts you will ever witness, even 20 years on. Their thirst for chaos has never relinquished and attending a Dillinger show is a life affirming experience. 9/10.

In a sad end to Dillinger's final Manchester show, the encore had to be halted during a pivotal moment of 'Sunshine the Werewolf' as a fan reportedly fell ill to some kind of seizure or fit. The music was cut off instantly and all the lights came on, as Greg Puciato let the crowd know what was going on. The response from the band, the crowd and the Academy staff was exemplary. People in the pit cleared a space and there was a rapturous round of applause as the medical staff arrived. Eager fans waited silently for at least fifteen minutes in the hopes that Dillinger would be able to finish the show (probably playing their anthem '43% Burnt'), but unfortunately because the curfew had been exceeded, the rest of the show had to be abandoned. During these tense moments I heard nobody moan and barely anyone wanted to leave. Everybody in that room knew that nothing was more important than making sure the well being of the fallen fan was taken care of, and reports suggest that he was conscious by the time he made it to the ambulance. The band came out and apologised for not being able to finish the show, saying that they love the fans and it means the world to them. The night ended with a thunderous applause in what was a truly emotional send off...

...BUT WHO WAS THE BETTER BAND I HEAR YOU ASK!? Well there really wasn't a lot in this one as both headliners are pioneers of their craft, yet also quite different in their approach too. I enjoyed the overall Dillinger show more if you count in the support acts, but Meshuggah for me just had that slight extra touch of magic that left me in awe and I genuinely had chills for much of the show. Dillinger was also a hell of an experience, but I can honestly say it's not the best I have seen them (their Club Academy shows in 2010 and 2013 stuck in my heart even more than this one). I actually wasn't quite as hyped for Meshuggah beforehand, but they delivered something mindblowing, but it's splitting hairs really. Seeing two of my favourite bands back to back will go down as one of my finest moments as a gig addict! And whilst many fine Mathcore bands have emerged taking Dillinger's influence, the fact that they are going away is going to be hard to take!

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Meshuggah - January 19th 2017 @ 02 Ritz, Manchester.
The Dillinger Escape Plan - January 20th 2017 @ Manchester Academy 2.
Photography by F & M.

TOP 25 LIVE PERFORMANCES OF 2016

Let's get the obvious out of the way. I can only count bands I have seen live in the flesh. Since I am based in Manchester this will mostly be the area covered. I've easily seen over 100 bands this year so here are the performances that knocked me sideways in 2016!

HOUSEWIVES - Gorilla, Manchester

25. DUKATALON
Rebellion, Manchester

The Noiz Alldayer ended up overrunning by about 2 hours, and this band that came all the way from Tel Aviv, Israel had waited patiently to play, finally coming on at 2am and devouring what was left of the crowd with their insanely high energy Sludgy Hardcore. They played with a real menace and their drummer was pumping up the crowd between each song, commanding them to get moving. The show ended in a fantastic stage invasion that saw nearly the whole crowd take to the stage in a moment of sheer bliss.
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24. RICK ASTLEY
HMV Manchester

I'm not Rick-rolling you at all here. I had practically no expectations when I arrived at this show, but Rick Astley really blew the crowd away, not necessarily with his songs (although a finale of 'Never Gonna Give You Up' was obviously incredible) but through his sheer passion and excitement. The man had a really good funk band behind him and delivered an incredible vocal performance. But it was his stage charisma, his fantastic sense of humour and the fact that he looked like he was having the time of his life on that tiny stage that really made this performance special. I'll never say a bad word about this man.
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23. JOHN CARPENTER
Victoria Warehouse, Salford

There was a lot of controversy about the arrangement and venue of this show, which sadly does taint the gig a little. I'm going to try and brush this aside and focus on the actual performance, which I thought was great since I managed to get there early and actually get a good spot in the room. It was incredible to see John Carpenter, the Horror maestro in the flesh with his excellent band that play on his 'Lost Themes' records. Not only did he play some of the best tunes of the two solo records, but of course many of his greatest film themes. Hearing the likes of 'Halloween' and 'The Thing' in the flesh was awe inspiring. Carpenter had a crazy charisma on stage and one of the best highlights was when the whole band put on sunglasses during the performance of 'They Live'. There were also scenes from each film playing on a big screen behind him, so that atmosphere was just right, and I had chills for almost the whole performance!
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22. ACxDC
Rebellion, Manchester

The news that US Grind/Powerviolence legends ACxDC are calling it a day became twice as sad after witnessing just how astonishing this band are live. They must have blitzed through about 50 tiny tracks, absolutely seamlessly with full on rage, venom, sweat and agony. There was no time to catch your breath as the band just raged and battered through blistering, lightning fast song after song. A blur of utter chaos and madness that was as beautiful as it was terrifying!
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21. SPACE WITCH
Rebellion, Manchester

This band don't come around my way often enough, but whenever they do it is an unmissable spectacle. As you probably know I have a bit of a fetish for Extreme Metal bands that implement electronics into their sound, and Space Witch are at the forefront of this in the British Metal scene. Psychedelic tinged droning Sludge riffs bludgeoned the Manchester crowd over their heads, as piercing electronics added deep, spacey textures to the mix and taking their sound to the next level of the spectral ether. Mindblowing from start to finish, seriously one of the most exciting bands in the UK right now!
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20. DESTRUCTION UNIT
Islington Mill, Salford

Without a doubt the loudest performance I heard this year, even with ear plugs in, this was painful and left my ears ringing. With a drummer, a bassist and about four guitarists crammed into the tiny Islington Mill stage, their sound was bigger than the entire venue. The aptly named Destruction Unit powered through pounding Garage Noise Rock with so much sweat and menace. The massive wall of tremolo guitars was intense and agonising... And EAR DESTROYING!
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19. MONO
Gorilla, Manchester

The majesty of seeing Alcest would have been more than enough to cover the ticket price, but we still had an epic MONO performance to enjoy. Equally as stirring as Alcest before them, their instrumental rock often started soft and melodic and built into loud, thunderous climaxes that were intense and overwhelming to the senses. True magic from the heart of Japan!
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18. ALCEST
Gorilla, Manchester

It's not often that you need to bring tissues to a Metal show but the double impact of Alcest and MONO would certainly reach deep into the souls of Metalheads. Alcest played a wondrous, dreamy set of buzzing shoegazy guitars, sweeping melodies and harmonious vocals, with a few shrieking Black Metal parts for good measure. Alcest really hit the sweet spot with a momentous performance.
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17. CONJURER
The Alma Inn, Bolton

The crowning kings of another incredible Riff Fest lineup, a free annual Metal festival in the heart of Bolton. Conjurer are a seriously wild bunch and a stage can barely contain the energy and immense heaviness of this band. As their set goes on these lads get angrier and more explosive to the point where the band and the audience can barely take it any more and the wheels fall off!
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16. HOUSEWIVES
Gorilla, Manchester

This was my first time seeing and even hearing this mysterious English Drone/Noise Rock band. They played in near darkness with strobe lights blaring as they played what seemed like one giant 40 minute composition of super atonal rock that almost felt like an incredibly minimalist and deconstructed version of Joy Division, complete with noisy saxophone and deranged screams. It was such a regimented and tense performance. This band had an entire crowd hanging on every note and even when they just jammed one note for 5 straight minutes it felt like the most intense thing that ever existed!
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15. UNDER
The Boulevard, Wigan

Under are a menacing and creepy Doom Metal/Drone Rock kind of hybrid band that have built an exceptional reputation over the year for their jaw dropping live performances. I've probably seen them about 10 times this year alone and they just get better and better. Under constantly change up their setlists, hinting at a well of new and unreleased material, so every performance of theirs feels fresh, exciting and unpredictable. This was the last time I saw them in 2016 and I am incredibly excited to just be a part of their wacky journey, just as a member of the crowd!
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JOHN CARPENTER - Victoria Warehouse, Salford

14. CAINA
Fuel Cafe, Manchester

Hands down one of the most extreme things I have ever witnessed. In what sadly looks like one of Caina's very last shows, the duo performed incredibly loud with dense layers of noise pedals and cold synths grinding away as the two screamed at the top of their lungs. Vocalist Laurence Taylor was terrifying, topless with a balaclava and cuts on his body. He got right up into the faces of the crowd, screaming nihilistic words and wrapping the microphone cable around his neck like a noose. This is what happens when a band take the performance aspect all the way up to 11!
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13. THE RIVER VERSUS
Rebellion, Manchester

Few things put as big a smile on my face as when I am watching The River Versus. They tantalise the Prog Rocker inside me with their virtuoso fusion of Neo-Classical verging on Post Hardcore. TRV are still a band that I am championing and sadly they don't quite play as often as I'd like or quite get the acclaim that they so sorely deserve. This band have the ability to leave newcomers completely speechless and the atmosphere at one of their shows is full of sheer joy and awe. Just go listen to them and never miss them live!
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12. SVALBARD
Damnation Festival, Leeds University

I was so excited to see Svalbard perform once again and they certainly didn't disappoint. In fact they just get better. It feels like the band are continuing to perfect their craft, delivering emotively resonant Blackened Hardcore with so much passion, energy and raw feeling. Playing in front of a packed out Damnation stage may well have been their biggest crowd and most defining show yet.
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11. FULL OF HELL
The Ruby Lounge, Manchester

This US band absolutely knocked me sideways. Bouts of lightning fast, brutal Grindcore suddenly evaporated into 0bpm electronic drones that were deafening and very intense, bringing a huge tension. The way Full Of Hell combine the slowest and fastest of Metal genres is really something special, and the way they switch between the two seamlessly is not only incredibly tight, but completely fucks with the audiences head. Absolutely astonishing.
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10. MAX RICHTER
RNCM, Manchester

The master of modern Ambient Classical performed his 'Blue Notebooks' and 'from SLEEP' albums in full with an ensemble and vocalist. Truly one of the richest and most beautiful performances I saw this year, with every note and instrument travelling through my body. It felt like a healing process and was incredibly moving.
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9. DEATH GRIPS
Manchester Academy

Perhaps the most anticipated show of the year, that sold out in mere seconds. Death Grips slammed through all of their best discography highlights, with MC Ride's maniacal grunts, Zach Hill's pounding drums and Flatlander's noisy synths sounding supreme, with so much energy and violence. This will remain one of the most talked about shows of the year.
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8. CULT OF LUNA & JULIE CHRISTMAS
Damnation Festival, Leeds University

To think that these musicians said they didn't get time to even rehearse properly is absolutely staggering! I think many who attended Damnation Festival in Leeds this year will agree that this performance was the crowning achievement of an already magnificent festival that seems to get better ever year. With about 7 people on stage, Cult of Luna absolutely pummeled the Damnation main stage with crushing, dense and emotionally draining riffs and textures, Julie Christmas was a bundle of energy, dancing, moshing and belting out powerful vocals. An absolute marvel from start to finish that we may never see performed again.
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7. AUTECHRE
Old Granada Studios, Manchester

The first time I saw Autechre live I didn't enjoy it so much, but I think it was let down by a poor sound and venue choice. No such problem this time as they performed in pitch darkness in a massive room where you could hear every blip, beep and rumble perfectly. They played a continuous hour long piece of music that was rather slow and doomy, with lots of discordance and alien textures. The lack of light allowed the music to really enter my body and take over my thoughts. Things got metaphysical and even though this band have no lyrics and use total discordant sounds, there was much emotion and expression.
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6. STEVEN WILSON
02 Apollo, Manchester

The master of Prog treated us to a 3 hour performance. In the first half he played the entirety of his fantastic 'Hand Cannot Erase' album, synced up to a film that ran on a big screen above the band with amazing visuals, helping to tell the story behind the lyrics. His band was incredible, including Marco Minnemann on drums and Dave Kilminster on guitar. The second half showcased songs from his latest release '4 1/2' and songs from his previous albums including a tear-jerking rendition of 'The Raven That Refused to Sing'. He even threw in some stunning Porcupine Tree songs, including 'The Sound of Muzak' and 'Lazarus' which he dedicated to David Bowie who had only just passed.
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5. SHOBALEADER ONE
Gorilla, Manchester

This quartet is a side project of Tom 'Squarepusher' Jenkinson, where he focuses solely on his virtuoso bass playing. This is one of the tightest bands I have seen perform all year. The music they played really reminded me of 70s Blacksploitation Funk. There were some seriously infectious grooves going on here, but with techy and jazzy parts thrown in also. A few renditions of Squarepusher classics were also performed. The band all dressed in black cloaks with masks on that had neon lights on them. How on earth they managed to perform to such a level was wearing them is anyone's guess!
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4. YOB
The Ruby Lounge, Manchester

A truly mindblowing performance from the US Doom trio. Guitarist and vocalist Mike Sheidt is mesmerising on stage. His guitar playing looks effortless, whether he is churning out massive slabs of Doom or clean, emotive arpeggios, and he pours so much passion into his vocals. The performance of 20 minute "ballad" 'Marrow' was something really special, completely captivating an entire room into stunned silence.
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3. EMPLOYED TO SERVE
Damnation Festival, Leeds University

Truly one of the most angry, visceral and energized performances I've seen all year. Mathcore maniacs Employed to Serve showed us how to fucking BRING IT!!! Like this was a "COME AT ME BRO" meme in it's most literal and musical entity. The stage was like a warzone and there was some seriously crazy pitting, crowd surfing and stage diving as they tore into the Damnation crowd with a relentless barrage of aggressive screaming and jagged staccato riffs, that ended in the destruction of a bass guitar letting out it's final battle cry (and I was lucky enough to catch a piece of it thrown into the crowd)! ISS BYOTIFUL!!!
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2. SLABDRAGGER
The Alma Inn, Bolton

In this very special one off performance, Slabdragger performed the entirety of their new album 'Rise of the Dawncrusher', and it was a FREE entry show! Damn! The packed out crowd were truly knocked sideways by the loud, crushing and technically mind blowing riffs. Constant twists and turns looked seamless in these 10+ minute epics. A true testament of great musicianship, high energy and sheer headbanging delight!
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1. KAMASI WASHINGTON
Manchester Academy

Damn, this was more than a show, it was an experience, a journey, a transformation! Kamasi Washington and his insanely talented Jazz band are more than a band, they're a family unit. With most of the players having grown up together as kids and learning their instruments from a young age, and it really shows. This band is beyond tight, and have a spiritual chemistry together on stage. The show was full of raw talent, insane musicianship, fantastic storytelling between the songs, and a lot of emotion too. 'Henrietta Our Hero' left people in the audience in tears. This was not only the best live music experience I had this year, but one of the best shows I have ever witnessed!
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KAMASI WASHINGTON - Manchester Academy

#354: DEATH GRIPS - LIVE IN MANCHESTER

As I entered the sold out Manchester Academy gig room the place was already chock-a-block full of music fans of all creeds. Hip Hoppers, Metalheads, Indie kids, Ravers, Punks and Rockers all united for the most hyped up gig of the year. The giant room was a sea of bodies, and so dark it was hard to recognise anybody. An eerie, droning siren hummed away, creating a sense of nausea and dis-ease amongst the crowd. Slowly the discordant drone gradually escalated in volume. After a few mistaken round of applauses as roadies and sound engineers appeared on stage, eventually the lights went out completely and the trio of Zach Hill (on drums), Flatlander (synthesizers and sampler) and vocalist MC Ride emerged from the ether...

...What followed for the next 90 minutes was a sheer bliss of noisy and violent music. Death Grips blur the lines between Hip Hop, Hardcore, Electronic and Noise, explaining why such a wide array of music fans were in union tonight. The trio blistered through all of their best tunes without a single pause for breath or to talk to the crowd. MC Ride stood tall like a deranged killer in the fog, ranting and screaming maniacally into the microphone. Zach Hill was a force of destruction, battering his kit like it had insulted his mother! The man was a sheer ball of fiery energy throughout and was fascinating to watch, delivering a diverse performance from the Industrial battering ram of 'No Love' to the Black Metal-esque blastbeats on 'Giving Bad People Good Ideas'. Flatlander was perhaps the most focused of the three, combining samples, laptop and synthesizers to create dense layers of noise and waves of wild electronics, piercing eardrums in the process.

The mosh pit was extremely violent and painful tonight, and I've seen plenty of Extreme Metal bands that haven't even managed to conjure up this much chaos! I began the gig slap bang in the middle, and I ended up being swept right to the front and then all over the place. The room became a tornado where bodies would fly and people's belongings soon became lost. I don't think I've ever felt so exhausted at a show and I was soon gasping for air and water! I woke up today with a battered and aching body, with cuts and bruises on my legs and arms, but I'd do it all over again!

Death Grips were absolutely relentless and shredded through just about all the songs a die hard fan could wish for! 'Get Got' and 'Bitch Please' were absolutely thumping, 'Giving Bad People Good Ideas' and 'Come Up & Get Me' were extremely raging, 'I've Seen Footage' offered a rare breather where fans could dance their asses off, 'Guillotine' was a bizarre sing-along anthem, and the finale of '(I've Got) The Fever' certainly left everyone wanting more.

Public Enemy may have warned us not to believe the hype, but I'm sure almost everyone will attest that Death Grips' live show was sheer enjoyment and an experience that was almost too good to be true! 9/10.

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October 16th 2016 @ Manchester Academy.

#350: GRAF ORLOCK + GHOSTLIMB & BIG MACHINE - LIVE IN MANCHESTER

Tonight's bargain show saw US Grindcore band Graf Orlock play at the hard to find Aatma bar in Manchester's Northern Quarter. Joining them were Manchester's own noise rockers Big Machine and US Hardcore act Ghostlimb. The show saw a good turnout with even a couple of distros selling hard to find vinyl releases!

BIG MACHINE

Manchester based Big Machine make some big sounds despite only being a duo. They stepped in at the last minute after Mums were forced to pull out after losing their pedals. Best of luck to Mums and I hope the pedals are found! Big Machine played a set of high energy Noise Rock with just a drummer and a guitarist, with both adding vocals to the mix. Their guitarist Sacha Zucconi churned out some gnarly screams, whilst drummer Nick Colman would offer a mix of screams and clean vocals. Their short songs were made of jagged twists and turns, leaning towards a Math Rock influence. Nick Colman really stole the show with the most impressive and versatile performance this evening from behind the kit. He was just awe inspiring to watch, with an acrobatic way of playing every part of his kit. The only real downside of their performance were that the guitars and vocals weren't quite mixed loud enough compared to the drums, taking away some of the aggression. Some of the clean parts of theirs songs fell a little flat. Big Machine's sound reminded me of Leeds based Clenstch (who I reviewed earlier in the year), as well as Shellac and The Hyena Kill. 8/10.

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GHOSTLIMB

Travelling all the way from California to play a bargain show were Ghostlimb, a Melodic Hardcore trio featuring the guitarist of headliners Graf Orlock. Ghostlimb channeled a lovely balance between more Extreme Screamo/Hardcore combined with a pinch of old school American Punk Rock. The trio were full of good riffs, though the gravelly screaming vocals could have benefited from a more varied tone. Ghostlimb weren't quite as crazy as the two bands they were sandwiched between, but were still enjoyable enough and could give their songs oomph when required! 7/10.

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GRAF ORLOCK

Our headliners Graf Orlock hail from Anaheim, California. Graf Orlock's trademark is to combine lightning fast, spazzed out Grindcore, punctuated by samples from cult films to introduce each track. The quartet successfully implemented the film samples in a live environment, through the use of a sampler. The way the band would kick in to mad bursts of grind all in unison at the perfect moment was a sheer joy to watch and got the crowd's energy raised. Since there were some sound issues across the whole night, the backing vocals from the guitarist were much louder than their frontman, but he still managed to command the stage, often spilling out into the mosh pit and crowdsurfing. Their frontman had a really raw, throat shredding scream. Graf Orlock's songs were frequently noisy and unpredictable, injecting a sharp sense of humour as they bantered with the crowd. Their performance was suitably brief but very intense, with lots of energy. Graf Orlock come across as the kind of act that Grindcore purists might scoff at, but their live show cannot be denied, as they are simply a lot of fun and know how to have a great time! 8/10.

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August 9th 2016 @ Aatma, Manchester.