Live: Gary Numan – Foundry, Sheffield 21/03/2018

GARY NUMAN (+ Nightmare Air)
Foundry, Sheffield

21/03/2018

Not only is electronic music innovator Gary Numan supporting one of his strongest albums to date in the form of 'Savage: Songs From A Broken World', but this tour of the UK also coincides with his 60^th birthday. And as he proves at tonight's show at Sheffield Student Union's Foundry venue, is still creating and performing with the best of them.

First onto the stage though is LA's Nightmare Air. Local to Gary now that he has relocated to the city of angels, this three-piece mix new wave, shoegaze and alt rock into a fairly serviceable if overall bland end product. Meek female vocals and conviction-less emotive male screeches are set against a decent-enough combination of new wave bass, shoegaze guitar, and very modern dance-friendly electronics.

Given Numan's now 20-odd year embrace of heavier industrial rock these seem like an odd choice as a support group, perhaps more to ease-in the older members of the audience who are in attendance to hear a few cuts from 'Replicas'. Nevertheless their set is fairly well received even though the most memorable part will be trying to remember exactly what they did.

As Numan and his band take to the stage, it is hard to believe that a man with his much energy and stage presence is 60 years old now. His voice still sounds great and he moves around the stage with more conviction than performers half his age. It's a good job though as the set draws mainly from his three most recent, and heaviest albums 'Savage...', 'Splinter...', and 'Dead Son Rising'.

From the opening of 'Ghost Nation', through tracks such as 'The Fall', 'Bed Of Thorns', 'Here In The Black', 'Mercy', 'Love Hurt Bleed', 'My Name Is Ruin' and 'When The World Comes Apart' the band passionately power through while Numan gives each track his all. He's no stranger to retrospective tours as we've seen in recent years, but synthpop is in his past and tonight's performance shows that heavy industrial rock is very much his presence and future.

That isn't to say there isn't room for a bit of nostalgia as rockier re-workings of 'Metal', 'Down In The Park', 'Cars', and 'Are 'Friends' Electric?' are still undoubted highlights. And even after nearly 40 years, Numan still has the passion to sing those songs and integrate them into his newer material.
With 'Are 'Friends' Electric?' finishing up the main body of the set it's a puzzle to second guess what will make up the encore. For this Numan delves into the fairly recent past with 'A Prayer For the Unborn' from 'Pure' and 'My Last Day' from 'Splinter...'. Unexpected but very poignant and effective closers.

Numan shows once again he is still at the cutting edge of music and has the ability to bring that music to life in a dynamic and passionate live performance. For anyone that thinks he is an artefact of the early 80s a performance like tonight's would be a massive shock to the system. Numan can still create great music and perform with the best of them.

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Live: Marilyn Manson – Manchester Apollo 04/12/2017

MARILYN MANSON (+ Amazonica)
Apollo, Manchester
04/12/2017

It has been a turbulent year for Marilyn Manson. The tragic loss of his father delayed the release of the album that became 'Heaven Upside Down', the firing of long-time friend and collaborator Twiggy Ramirez after historic rape allegations, and the freak accident involving an unsecured stage prop that left Manson with a broken leg and led to a series of American tour dates being cancelled. But the self-proclaimed god of fuck is a tough one to keep down. The new album has enjoyed rave reviews since its release and the tour has made a feature of Manson's injury that will no doubt be a talking point for many audiences for some time to come.

This latest tour sees an interesting support act in the form of DJ Amazonica. Yes, you read that correctly. Admittedly tour support slots are contentious things with most bands these days taking whoever is willing to pay for the slot, but this seems like a misstep. It's a common complaint that bands who often don't really need the exposure are often found supporting bigger ones to draw some of their own fans to the gigs, but in Amazonica this seems to have been completely forgone in what seems like the easiest and most convenient set-up possible.

The DJ has a pretty standard table set up and performs a pretty standard set comprised of rock and metal classics with the bass turned up and hard kicks inserted over the top. The mixing was pretty on-point and there was a good reaction from the crowd, but it was really underwhelming for a night like this. At a club night with a couple of guest bands and the time to let the songs play for more than 30 seconds each this would have been far more enjoyable, but in this context it would have been much nicer to see a new hungry young band give it their all tonight.

Despite the light setup of a few DJ decks and a table, Manson's stage time is still delayed by 30 minutes so the night will at least end at a proper time (honestly why are 10.30pm finishes for gigs even a thing?). When Manson does take to the stage it is to riotous applause as he nips around on an electric wheelchair cum throne to the strains of 'Revelation #12'. Manson then continues the majority of the set on a peg-leg and assisted with costume changes by a couple of helpers in scrubs.

The set list itself is a nice mix of old and new featuring the likes of 'This Is The New Shit', 'mOBSCENE', 'Disposable Teens', 'The Dope Show', 'Sweet Dreams', and 'Tourniquet' providing highlights. While the newer cuts are taken from the last two albums with 'Kil4Me', 'Deep Six', 'Third Day Of A Seven Day Binge', 'We Know Where You Fucking Live', and 'Say10'.

There were some contentious issues though with Manson occasionally stopping the songs in order to pump up the crowd, and even outright aborting 'I Don't Like The Drugs (But The Drugs Like Me)', and the encore performance of 'Coma White'. Post 'Coma White' the encore went into a stalling and messy version of 'Saturnalia' that killed the momentum quite a bit with an extended guitar solo, before bringing it back with 'The Beautiful People' to close the show. Obviously with a broken leg, climbing the podium for 'Antichrist Svperstar' was out of the question so that was an understandable cut.

Despite the broken leg and the odd stalls to the set it was otherwise a pretty solid showing from Manson. The band was tight and Manson and Tyler Bates' onstage chemistry is continuing to grow. And even though his movement was limited by the broken leg Manson still put on a show. It may not have been the huge spectacle of his mid-90s to mid-00s heyday, but he still give you plenty of bang for your buck.  

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Live: Paradise Lost – Electric Ballroom, London 03/11/2017

PARADISE LOST (+ Pallbearer, Sinistro)
Electric Ballroom, London
03/11/2017

Paradise Lost have been proudly slogging away on behalf of British metal for three decades now. It's a carrer that has seen them amass an unbelievably diverse back catalogue of fifteen albums that range from Death Metal, Doom Metal, Goth Metal, Industrial Rock, Electronic Rock and all the way back again. Their two most recent albums 2015's 'The Plague Within' and 2017's 'Medusa' have seen their heaviest output since the early 90s – for some it's a return to form, for others a regression of sorts. But there is no denying that their rekindling of the death doom sound has yielded some brilliant material that quite rightly deserves a public airing.

The band's latest tour in support of 'Medusa' sees them joined by Portugal's Sinistro and USA's Pallbearer. Sinistro are up first with their atmospheric and avant garde take on doom rock. There is a nice experimental and progressive element to their sound which is quite compelling and causes the heavier elements of their songs to just catch you off guard. It's a strong if unfortunately short set but one that sees a strong performance and will undoubtedly have created a few new fans.

Pallbearer are up next. A little controversial for some with the whole “are they doom or not” argument floating in the air. But that doesn't matter as they are a damn solid band. Technical issues with one of the guitar rigs may have slowed them down a little, but they didn't falter and saw the set through to the end. They're a band with many faces and influences that come together for a monumental sounding whole. Alt rock, prog rock, doom, ambient, and proto metal come together for a sonic spectacle that sweeps you along. The band perform with the skill and precision of veterans and by the time they leave the stage the crowd are more than satisfied with their set.

Finally though it is time for Paradise Lost to take to the stage. The veteran performers on their native soil may not play the size of concerts they deserve, but are always met with a hero's welcome. With two of their heaviest releases in years recently under their belts the setlist is the doomiest the band have sounded in decades. With five cuts from new album 'Medusa' and three from 'The Plague Within' there isn't much room to show off the full range of their previous work, but what the band do produce is a damn tight set with slow heavy tracks, sing-a-long moments and even a rare opportunity to open up a moshpit.

Songs such as 'From The Gallows', 'Gods Of Ancient', 'Enchantment', 'Medusa', 'Blood And Chaos', 'Beneath Broken Earth', and 'Embers Fire' give the set a dark and doomy backbone of monolithic rhythms and bludgeoning riffs. While tracks such as 'One Second', 'Erased', 'Faith Divides Us – Death Unites Us' and 'As I Die' allow bodies to move and the crowd to join in.

The encore again sees a heavier slant with 'No Hope In Sight' and the stunning 'The Longest Winter' bringing the doom once more before the band's finale in the form of 'Say Just Words'. The band may be older but they are sharper – Nick Holmes does a great job varying his vocals across the set (even if they were a bit low in the live mix). The whole set is tight and expertly performed and once again shows why Paradise Lost are one of the best bands this country has produced in the last 30 years.  

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Live: Damnation Festival 2017, Leeds 04/11/2017

DAMNATION FESTIVAL
Leeds University,
04/11/2017

The stars having aligned correctly and the goth festival season over it was with great joy that your the humble correspondent strolled the short distance to Leeds University and Damnation Festival 2017 - an appointment which where possible should be kept with extreme prejudice, as it represents unbeatable thrills and chills as one of the foremost extreme music festivals in Britain.

Disentomb kicked off proceedings on the Terrorizer stage, providing pulverising riffs & death metal growls in equal measure and setting the tone for a day of monumental brutality. Meanwhile, slightly earlier than expected on the Eyesore Merch stage Italian doomsters Psychedelic Witchcraft were making their presence well and truly felt. Building on the mellow blues-rock of their recorded output the band seems truly transformed on stage, full of harder riffs and band leader Virginia Monti's bravado performance behind the mic. Transformed with such striking completeness. their vigour is almost too much for the early afternoon crowd.

In contrast, Myrkur's live performance doesn't really build on the quality of her recorded music. On record her particular brand of ethereal banshee-metal is innovative and uncanny, yet her live band comes across as almost disappointingly orthodox, and prosaic. Although still a superior live band, their performance leaves you wanted more of the angular, indefinable thrills of her studio work.

West Yorkshire gothic legends Paradise Lost return to a heroes' welcome, and despite some much-demonstrated sound problems they turned in a flawless performance that took in old classics like 'Enchantment' and a final rollicking 'Say Just Words', this was a set worthy of a headliner and one that shows great things still lay ahead for Cleckhuddersfax's finest.

Following such a set wasn't going to be easy, but the Ruhr's Sodom prove more than up to the task. With their stripped-down and sped-up barrage of riffs their high-octane performance reminds the listener of a Motorhead on steroids, a brutalised and streamlined thrash machine that is the perfect counterpunch to the gloom of earlier sets.

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Review: Diamanda Galas – London Barbican, 19/06/2017

DIAMANDA GALAS
London Barbican
19/06/2017 

A real event drew your humble reporter to London once again – the return of the high priestess of darkness Diamanda Galas to the London stage after a gap of five years. Never a proposition to be taken lightly, we ballasted ourselves with nicotine and wine before heading through the thick air of the UKs hottest day of the year to the wonderfully modernist construct of the Barbican, which was full of the veteran (and long absent) goth elite of the capital. Big hair and black filled the stalls in a theatre that was acoustically perfect and visually stunning. This was going to be an experience to relish.

Walking onstage in a flowing black dress to a thunderous applause, Galas sat down at her grand piano and started off lightly with the Jacque Brel number 'Fernand', setting the tone brilliantly with a arch melodiousness before we were thrown into the pit with 'She' – red stage floods and cacophonous piano virtuosity ripping a hole in the hall filled by the siren wail of her seven-range voice. Eschewing all but the bare minimum of patter (one song being dedicated to the promoter, “A brave man....so few of them are”), Galas continued with a dazzling collection of numbers that maintained the intensity of the evening - 'A Soul That’s Been Abused', 'Die Stunde Kommt' (Galas being truly chilling singing in German), and 'O Prosfigas' amongst them.

By way of light and shade Galas performed several of her poems, listened to keen and attentive silence. “You kill me, you kill me, you kill me... I might kill you”, the words hanging in the Barbican air. Then, ending with with a viscerally cathartic 'O Death', the main bulk of the set was over.

Never one to compromise to standard rockist niceties Galas came on stage for each encore precisely one at a time, the crowd having to beg with ovation after ovation as they were treated to 'Pardon Me I’ve Got Someone to Kill', 'Anoixe Petra', and finally a sublimely defiant 'Let My People Go' which didn't need any polemical grandstanding to stand out as an anthem for the outsiders, queer and oppressed.

No support act, just 90 minutes banshee blues from the most unique performer on the planet. Next time, don't miss it – I certainly won't.

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Live: Kraftwerk – Sheffield City Hall, 15/06/2017

KRAFTWERK
Sheffield City Hall
15/06/2017

The tickets may have said **ON STAGE 19:45 PROMPT** in typical Kraftwerk fashion, but it was still 8pm by the band finally took to the stage. Perhaps it was down to that British of habits of turning up at approximately the right time that delayed the performance as the band waited patiently backstage for the audience to take their seats. Or it could be that in their advancing years the Krafterk idiom of punctuality has softened somewhat.

The location of tonight's performance, Sheffield City Hall, might not be the average venue for an electronic artist's performance these days, but for Kraftwek it is strangely suitable. An old seated theatre layout with nice acoustics and a beautiful moulded plaster ceiling give this the feel of a classical recital. Indeed the band's robotic on-stage persona has never lent them to energetic performances, rather stoic and dignified not unlike classical performers.

The band, an oddity in their commercial heyday of the late 70s paved the way for nearly every band with a synthesizer after them. Democratising the synthesizer from the overblown heights of prog rock and putting it into the eager hands of the DIY post-punk scene as another invaluable weapon aiding in the development of synthpop, industrial, and dance music over the next few decades. Their importance cannot be overemphasised enough in the annals of electronic music, and despite not releasing any original music for quite sometime, their live shows still pull eager crowds.

If you've previously seen footage of the band recorded over the past decade, you'll be aware that they are always aided by a synchronised projection behind them. The new twist is the projection is presented in the latest 3D technology, and as such every audience member is given a pair of 3D glasses on entry. Cynically it may seem like a cheap gimmick, but in the hands of Kraftwerk it works incredibly well.

The band open with 'Numbers' and 'Computer World' before rolling out classic upon classic. Tracks such as 'Computer Love', The Man-Machine', 'Spacelab', 'The Model', 'Autobahn', 'Radioactivity', 'Tour De France' and 'Trans-Europe Express' are met with rapturous appreciation from the audience.

The band briefly leave the stage as their robotic counterparts are brought on for 'The Robots'. Unfortunately the stage curtain begins to snag and the unveiling of the automata Kraftwerk is delayed, but surely the curtain is pulled apart by the sheer force of the stage hands. However, after the curtain closes once again for the band to return to the stage the same problem hits and though one side is able to be fully opened, one does not and the stage hands have to hold it open as best they can, which does cut off part of the screen. Undeterred, the second encore sees the band roll through 'Areodynamik', 'Planet Of Visions' and a final medley of 'Boing Boom Tschak / Techno Pop / Music Non Stop' before leaving to a well-deserved ovation from the audience.

Kraftwerk these days may essentially be the Ralf Hütter show, with founding partner Florian Schneider, as well as the classic line-up, having left some time ago. But that doesn’t dull their edge any less. Tonight's show was a master-class in electronic composition and technical perfection. For a band as obsessed with technology and the future as Kraftwerk it would be wonderful to have some new material soon and new additions made to their touring set. But, as tonight shows, even when Kraftwerk are looking back they still seem light years ahead. 

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Horrorcon UK 2017 – Magna Science Adventure Centre, Rotherham 13-14/05/2017

HORRORCON UK 2017
Magna Science Adventure Centre, Rotherham
13-14/05/2017

As you'll probably be aware, we love our horror here at Intravenous Magazine, so it's no surprise that a horror convention practically on our doorstep is a no-brainer for us. Conventions of all kinds be it of the sci-fi or comic variety have been growing in recent years in the UK, and horror fans, not to be left out have got in on the act as well.

2017 sees the third instalment of South Yorkshire's own grand guignol get-together at the cavernous Magna Science Adventure Centre near Sheffield. The annual event has become a Mecca for horror fans boasting film screenings, special-fx artists, market stalls, guest signings and Q&A sessions, body painting, Zombie shooting ranges, and even a “scareplay” contest.

Just standing in line to get in it is evident the dedication of UK fans to the horror genre with cosplayers replicating their favourite characters and some even creating their own originals. A phenomenal Mister Babadook stalked the corridors coming face-to-face with Jason Voorhees, Michael Myers, Freddy Krueger, Twisty The Clown, and Lilly Munster. While originals such as the demonic clowns Kavity and Khaos, as well as zombies and vampires, made their presence known.

The smorgasbord of the market within has everything the discerning fan could desire to spend their cash on; art, tattoos, cakes, music, literature, films, masks, props, and memorabilia. While the line-up of stars ensures long-lines at the signing tables and packed Q&A sessions. This year the guests include murderous clown Captain Spaulding aka Sid Haig from House of 1000 Corpses/The Devil's Rejects, Elvira; Mistress of the Dark actor Cassandra Peterson, Hammer & Tigon Films actor Linda Hayden, Return of The Living Dead’s Thom Mathews, Nightmare on Elm Street’s Scream Queen Heather Langenkamp, and all the way from Oz Wolf Creek actor John Jarratt. Also in attendance is pop culture expert and vampire aficionado Sir Christopher Frayling, as well as genre artist Graham Humphreys, and extreme Horror Author Matt Shaw will also be here with his demon dog Chewie the Pug!

If that wasn't enough a myriad of short original horror films are screened throughout the day to give you chance to sit down and enjoy some up and coming actors and directors.

With it's atmospheric location and esoteric array of features, it's easy to loose track of your day, and with plenty of exhibits, stalls and activities spread throughout the day it will easily hold the interest of aficionados and casual fans in search of shopping.

As we all know the monster always returns for his next instalment, and with that in mind we'll be counting the days until part four arrives in 2018.  

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Live: Katatonia – Brudenell Social Club, Leeds 07/05/2017

KATATONIA (+ TheGreat Discord, Ghost Bath)
Brudenell Social Club, Leeds
07/05/2017

The Brudenell Social Club in Leeds may be a bit out of the way but it's relaxed atmosphere and strong live pedigree makes it a nice fit for atmospheric metal veterans Katatonia who are visiting in support of their latest effort 'The Fall Of Hearts' which came out a year ago. With a sound rooted in the despair of doom metal and expanded with progressive rock experimentation the band have for 25 years crafted a rich and diverse discography that can veer from hard metallic strains to soft atmospheric melancholia with ease. It's with this in mind that tonight's support bands have been chosen it seems.

First up is Swedish prog-metal outfit The Great Discord, who deserve a bit of slack considering the technical difficulties encountered toward the end of their set and the sheer grit with which they fought on. The stage presence of vocalist Fia Kempe is undeniable as she channels Peter Gabriel circa 1974 amidst a solid metal backing. It does in places feel somewhat convoluted and the songs do tend to struggle to retain a sense of focus, but the band is engaging and the crowd appreciate the theatrical performance. Even when the PA seems to blow in the style of an impromptu MERZBOW remix and the guitars and vocals cut out, Kempe and drummer Aksel Holmgren struggle on regardless until full amplification is restored... then lost... then restored... and finally lost again.

US depressive black metal group Ghost Bath thankfully don't suffer the same technical curse. With a sound that veers from post-black metal, into atmospheric and finally back into depressive the musicianship they demonstrate is sublime. Tightly focused, wonderfully atmospheric and with vocalist Dennis Mikula's anguished shrieks hovering nicely in the mix the band's performance is utterly hypnotic from start to finish. Though notorious for valuing their privacy and wanting to let their music do the talking for them, with performances like this under their belt it's a policy that may actually work out well for them.

But the main event is Katatonia, the veteran Swedes are consummate professionals and even strip the stage back completely of the support band's amps and going straight through the desk which instantly sees their sound replicated perfectly. They've been around long enough to know that even in a venue of that size the average soundman will mike everything up and crank everything as loud as possible, hence the issues with The Great Discord's set earlier on.

The performance is just as strong as the live mix with a tight but relaxed presence that sees them fly through a set of classics and new cuts with ease. The band book-end the main set with new songs from the latest album, opening with 'Last Song Before The Fade' and closing on 'Passer', and add strong cuts 'Serein' 'Old Heart Falls', and 'Residual'. But for the most part it is a long-time fans wish list. Tracks such as 'Dead Letters', 'Teargas', 'Evidence', 'Ghost Of The Sun', 'Soil's Song', 'In The White', 'Forsaker', and 'Leaders' elicit a rapturous response from the audience.

Throughout Jonas Renske sounds strong in in his vocal performance, the band is tight and professional and show off why they are critically acclaimed veterans. Renske has a strong rapport with the crowd as he interacts with them at regular intervals. The setlist seems to fly by and soon the band are back on stage for a brilliant encore comprised of 'My Twin', 'Lethean', and 'July' that surely sent everyone there home happy.  

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Live: DESERTFEST 2017, London 30/04/2017

DESERTFEST 
London, UK
30/04/2017

Your humble correspondent set off to the capital once again for day three of Desertfest 2017, one of the premier doom and stoner festivals in the world, and travelled light for maximum impact. Desertfest has made a real niche for itself over the past few years due to it's fantastic atmosphere, unfussy professionalism and great lineups, with this year being no exception.

Camden strikes a more subdued note these days under the current regime, with several of the regular bars and shops being closed and a rather downbeat atmosphere prevailing. Yes, the Dev remains a grittily dark outpost of alternative culture where the shadows of it's goth heritage still lay dormant. Although it will likely survive the current thrust to gentrification (the barman told me that he'd have to be 'taken out in a coffin') it remains one of the few remaining authentic places in Camden, which is increasingly becoming a dystopian vision of itself.

The Roundhouse, however, is more translucent than ever and is still one of the better largest venues in London. And so it was that Wolves in the Throne Room conjured up a storm, the dimmed lights and stage fires forming the perfect backdrop to a viscerally emotive and atmospheric performance. Wolves are the almost-perfect encapsulation of black metal, the chords hitting you physically on an emotional level even before you hear them, and the dissonance creating it's own pagan poetry, and leaving the crowd as stunned as they were euphoric.

Candlemass, grandmasters of epic doom ham, were up next for what was a note-perfect parade through their greatest hits – 'Well of Souls', 'Bewitched', 'Darl Reflections', 'Crystal Ball', 'At the Gallows End' and ending with a peerless 'Solitude', the band have probably never sounded better and the doomheads at the Roundhouse lapped it up. All it was missing was Messiah's trademark 'doom dancing'...

And last up were Sleep, kicking off with a heavy-as-fuck 'Holy Mountain' and 'Sonic Titan' which set the stage for a rampantly scuzzy hour which ended in a pulverising 'Cultivator/Improved Morris' that sent the capacity crowd at the Roundhouse go home satisfied, and another Desertfest sealed as a complete victory.

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Live Review: Mortiis / PIG – Plug, Sheffield 14/03/2017

MORTIIS / PIG (+ Seraph Sin)
Plug, Sheffield
14/03/2017

A double-headline tour is not a common occurrence, and certainly not one that boasts two industrial rock bands with cult legacies such as PIG and Mortiis. Alternating headlines slots at shows up and down the UK, putting egos aside and adding a little surprise as to just who will be topping the bill. With several dates straddling school nights a large crowd may not be on the cards, but those who do make the trip are certainly feeling the passion.

But before all of that it's left to Glaswegian industrial rockers Seraph Sin to warm the crowd up. Their mixture of metal-tinged industrial rock is a sharp wake-up call to anyone feeling the mid-week malaise. They tear through a half hour setlist of up-tempo gritty tunes that balance menace and groove nicely. The beats fly thick, the riffs come hard and fast and front-man Gabriel even ends up playing from the front row of the crowd. Tight on time they may have been but by the end of their set they'd definitely got the blood pumping.

Next up the lord of lard, the baron of bacon, the mighty swine himself Raymond Watts hits the stage with PIG. This tour marks the first for the band in the UK since supporting Nine Inch Nails on their Downward Spiral tour. Let's just let that sink in for a minute. In that time Raymond has become a cult hero of the industrial rock scene thanks to his work as PIG and time with KMFDM. The reanimated PIG live crew sees Watts joined by ex-KMFDM bandmates En Esh and Gunter Schulz, as well as ex-Combichrist synths man Z. Marr, and 16 Volt's Galen Waling on drums. It's a strong line-up (worthy of “supergroup” in fact) that produces a blistering set.

Watts is the epitome of the rock frontman. He chews the rind of irony and spits it back amidst a set of groove-laden industrial rock that not only spans the career of PIG, but also dives into KMFDM territory. The latest album 'The Gospel' is well represented right from the start, but arguably the most enjoyable moment of the set was seeing Watts, En Esh and Schulz going hell-for-leather on 'Juke Joint Jezabelle'.

By the process of elimination it is down to Norwegian industrial rockers Mortiis to headline the evening. Håvard Ellefsen's band may have also come in from the cold with last year's 'The Great Deceiver', but certainly they show no signs of rust. Last year's album revealed a darker and more malevolent edge to the band's sound, one that has translated into an intense live performance. The set draws heavily from the new album but there are room for well-received classics such as 'Decadent And Desperate' and 'Parasite God' (which unfortunately suffers from a brief microphone glitch at the start, and quite frankly deserves a re-release in this high-octane version).

Ellefsen stalks the stage like a rabid animal pacing and throwing his dreadlocks around with intensity, yet he still manages to smile and joke, showing his enjoyment throughout the energetic performance. It's a tight set and despite only being three-men strong the band still fills the stage with ease, but it's not surprising given Ellefsen's pedigree as a showman. Yet again, Mortiis show that they are a criminally underrated band with an intensity that can see them hold their own on any night.  

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Live Review: Killing Joke – O2, Academy Brixton, 04/11/2016

KILLING JOKE (+ Death Valley High, The Membranes)
O2 Academy, Brixton
04/11/2016

The great gathering descends upon Brixton's legendary music venue the Academy in droves for Killing Joke. A band who have remained relevant and visceral since their inception in 1978. Despite line-up and genre shifts over the course of their history they have remained a credible force in the alternative rock scene both in the UK and abroad. Even so the band have enjoyed a true renaissance since 2008 when the original line-up got back together and produced three explosive albums in the forms of 'Absolute Dissent' (2010), 'MMXII' (2012), and 'Pylon' (2015). It is no surprise that their fanbase is as passionate and as ravenous as it has ever been these days.

Tonight's performance is opened by the somewhat recently reformed (well since 2010) act The Membranes. Fronted by prolific punk musician and journalist John Robb, the band released their first album in 26 years last year, and tonight are hear to gives us “30 minutes of songs about the universe”. And boy do they. With raucous punk energy bristling through each track and yet a flair for moments of psychedelic, dare I say prog, flourishes, the band rip through a frenetic and entrancing set. It is a brilliant performance that quickly whips up an energetic response from the crowd, but is over way too soon. Another 30 minutes of songs about the universe would have been most welcome.

Instead of more of The Membranes we instead get the dubious pleasure of Death Valley High. High on style, low on substance. The band mix pseudo-industrial rock with nu-metal posturing. Resembling a 'Holy Wood' era Marilyn Manson tribute act but sounding like Dope sans the passion and commitment, the band's set struggles to approach the energy of The Membranes. With youth on their side but the will evidently not, their performance feels like it was completely called in. Their biggest shot of adrenaline is saved for their eponymous final song, which is still disappointing, especially seeing as they were the youngest band on the bill by a good twenty-odd years. Contrived and uninspired, they should have had the opening slot and The Membranes should have been on second.

Between DVH and the headliners taking to the stage we're treated to a dub reggae set befitting the venue's location. It may have gone above the heads of a few of the patrons, but it was a nice change from a pre-recorded mixtape.

But finally it is time for the main event. The band kick things off with 'The Hum' and instantly the room is electric. Jaz Coleman stalks the stage like an apocalyptic preacher invoking the end of days. The band then quickly rip through a set that sees them shockingly dispense with their most mainstream hits 'Love Like Blood' and 'Eighties' quickly, before unleashing a brilliantly heavy set made up of recent and classic cuts. Tracks such as 'New Cold War', 'Requiem', 'Turn To Red', 'European Superstate', 'I Am The Virus', 'Dawn OF The Hive', and 'Pssyche' are met with lyrics chanted back by the frenzied crowd. The addition of two female fire dancers/eaters makes for a more interesting stage show than usual, and is nicely self-referencing if not overtly acknowledging their 1983 album.

The encore is a definite pleaser for any long-time fan with 'The Death And Resurrection Show', 'Wardance', and 'Pandemonium' rounding off a heavy and powerful show of force from the nearly 40-year veterans. If you have ever questioned the relevance or the prowess of Killing Joke, tonight once again reaffirmed their status as a band of the 21^st century with their finger on the pulse.  

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Live Review: The Mission – O2, Academy Leeds, 03/11/2016

THE MISSION (+ The 69 Eyes, Skeletal Family)
O2 Academy, Leeds
03/11/2016

The Mission have been one of the most consistent and and influential gothic rock acts since their acrimonious split from The Sisters Of Mercy 30 years ago. It seems fitting then that three decades down the line their anniversary tour should see them return to their home town in triumphant fashion, bringing fellow gothic rock pillars Skeletal Family, and international big-hitters The 69 Eyes along for support. The Mission are a band that have never rested on their laurels, which is attested to by their latest album effort 'Another Fall From Grace', as well as the rabid fans in attendance.

First up though is fellow Yorkshire goth institution Skeletal family who without standing on ceremony and keeping true to their post-punk roots, ripped through a set of their own classic tracks, as well as a couple of Ghost Dance numbers for good measure. Even though the room was slow to fill up, the band brought the energy up quickly with tracks such as 'Far and Near' and 'Promised Land' in particular receiving a lot of appreciation from the crowd.

Next up were the Helsinki Vampires, The 69 Eyes – headliners in their own right – mark their return to the UK after five years away. With a short sharp set heavily favouring classic cuts such as 'Gothic Girl', Dance D'Amour', 'The Chair', 'Sister Of Charity', and 'The Lost Boys', they still find room to include the latest singles 'Dolce Vita' and 'Jet Fighter Plain'. The band are tight throughout and deliver on every level quickly drawing more of the younger element of the crowd to the front. By the time the band left the stage the room was sufficiently pumped for the headliners.

The Mission hit the stage accompanied by the rousing strains of 'The Dambusters Overture' and quickly dived into a formidable set. The band were on top form with the stage presence and skill befitting their veteran status but with the energy and conviction that would put most bands half their age to shame. Tracks such as 'Beyond The Pale', 'Garden Of Delight', 'Severina', 'Stay With Me', 'Tower Of Strength', 'Wasteland', 'Butterfly On A Wheel', and 'Like A Hurricane' provided particular highlights especially with backing vocals aptly provided by special guest Evi Vine to add extra depth.

The encore provided more exhilaration with '1969' getting an airing, as well as rapturous renditions of 'Blood Brother', 'Sacrilege', and 'Deliverance' closing the set. The band were unrelenting throughout and the crowd fed off their energy and amplified it back threefold. Wayne and crew even in the face of advancing years remain one of the coolest bands to fly the gothic rock flag today, and tonight's homecoming was a testament to thirty years worth of commitment to their sound and their fans.  

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Wave Gotik Treffen – The Review // 25th Anniversary

Wave Gotik Treffen – The Review // 25^th Anniversary

Going to Leipzig can be a metaphysical question for some. Placed in the Former DDR heartland, the place breaths German avant-garde meets Chernobyl, as the city has space; scorched earth policy type space. However this is the charm about this town. If it is not the beautiful Baroque architecture that has your skin smelting in awe to your trad-Goth fabrics. It shall be the sheer scale of the soviet era buildings that dwarf many sectors of the city. These are a portion of the venues that will play host to the largest festival for the Goth sub-culture.

Becoming the 25^th occurrence in this festival is a monument to it withstanding the test of time, and there really is nothing like it anywhere else. Yes you may hop on a flight to Köln or Berlin for a quick gothic weekender at a venue. However WGT acquires the entire city from Thursday night till Tuesday morning. This is conveyed with two festival schedules, which are each three double-sides of A4.

The Belantis amusement park was centre stage for the opening of WGT. VNV Nation performing to DJ sets from the UK’s Slimelight Steve and other members of the European scene cranked up the volume to shift the festival into GO!

Enjoying the full luxury of the WGT forum’s accommodation page, myself and my better-half were able to multitask breakfast & bathing, as the kitchen was also the bathroom. “Nothing better than reviewing the financial times over a pot of coffee; whilst gandering at a bit skirt before noon”. Love it. If you are proactive there are plenty of well-priced hotels, who are happy to bleed you of your fine coin on this peak demand period. However I would recommend going house sharing. It is a lot of fun, and I believe the best way to experience the festival. The locals are very welcoming of the event, as it has become an acceptance from an economic to a fun point of view.

Friday

Usually on Friday the very well-known Victorian picnic is a sight to be seen, though if you would rather sit on a chair, have a glass of sekt and a nice pinch of antipasti to go with the glass. Then the ‘Viktorianisches Viliage’ at the Arena am Panometer shall hit the spot! An open area location; it shields you from the outside world, yet with beautiful sky views, with a roman feel. The prices for a drink are rather acceptable, and if you would like to avoid the large scale crowds of the Victorian picnic, with some upper class decency (Less Mud) where the alcohol comes to you, then glance over here.

Moving a century or two forward. The French duo of Dernière Volonté bestowed me with my first visit this year to the Volkspalast Kuppelhalle. A grandeur building of the DDR that has a circular stage. The French artist had their live performance dominated by the bass of large drums (yes they are very big), as the vocals of Geoffrey D combined militaristic rhythm with a pagan/folk enchantment that engorged the hall.

On Saturday evening the venue plays host to ‘The Obsession Bizarre’; which embroils leather & latex. A trusty combination that will see you additionally queuing and sweltering. Indeed very nice performances, yet the greatest advantage to my eye is being able to dress as an elegant slut on a warm June evening, whilst hearing tears of electronic bass vibrate through your neck. However… the toys to play with are not worth the waiting time. Opinion; kinky posing…  LX-E’s recommendations prior to attending is to have a clear cut glass of cold Valt Vodka.  Also to be noted, WGT is a Goth event and dressing like an elegant slut is generally accepted the whole time. Obsession Bizarre is a moment for bass hunting vibrations up your skin in well tight fabric.

Saturday

Moving onto the main stage Die Krupps brought their new live act from their new album V - Metal Machine Music. Already industrial enough with Jurgen Engler's scaffolding xylophone; they decided to see all of the stage disappear. Guitars went flying and a clang of steel pipes fell from the stage and the Agra Halle resembled a music demolition site. Die Krupps really showed a new jolt of youth!

Sabbath

Sunday was a clear calm recovery mode; or so one thought… You know that beautiful sensation, when from the prior evening of dancing. You know; where battery acid is filling the muscles, and that additional benefit when you have washed your face, to know the tanz sweat exfoliated your skin… Priceless. However this was not a morning for sitting around. Toss the Financial Times in the bin and lets go with that skirt for a another dose of Met and keep the body moving.

I named EBM/ electronica day to Sunday, as with the rain and wind the only thing that was going to keep me moving, excluding Ardbeg whisky was going to be man-made.

Taking a winding tram route to the western rim of Leipzig, where the patrons thin out; we eventually made it to the Patenbrigade:Wolff themed Stage. The NONTOX LE.E.V is construction site meets stage. So to expand external stage & little shelter, however braving the horizontal rain to Lights of Euphoria, it has of course Patenbrigade:wolff necessities… Beer Tent with builder size cups of tea, can’t compete with that!

The trio of Torben Schmidt (Suicide Commando), Singer Jimmy Machon and drums Thomas Gaarn brought on killer performance that did its upmost to get the crowd warm, however the only thing that was going to be blown away in this dismal weather was the beer tent.

Getting a move on, back down 3 Strassenbahn route, we hit the next venue and brought the EBM to the Täubchenthal.  ‘Somatic Responses’ got the earth warm as their early ‘Architect’ noise distorted the crowd. A first glimpse at their work, the track ‘Wherever’ brought in that attractive feel of desolation. The great thing about the venue, was it smelt and felt like a Goth club. Utter darkness once inside, heat, confusion and condemning melody.

Dirk Ivens broke the desolate mood left by Somatic Responses. Cracking open the muscles with a Best of show. It began by bleeding the rough cut muscle of the audience with Dream Hunter, and then cooked the room with the speed of ‘Sidewalk Sinner’. The EBM newtons of energy took their addictive toll, as I found myself in the EBM mosh pit for the remainder of the act. Chelsea boots and EBM Germanic work out turned out to be a winning combination. My toes would beg to differ on that.

The Sunday’s current EBM frontline, was brought to a standstill. As the Danish melancholy ‘Of the Wand & the Moon’ submerged Altes Landratsamt in their Scandinavian tribe. The band’s performance was good, however there was something in the air that really made it not great, I think it was the acoustics.

The discovery of the year was Göttertanz. A tribal and folk club event, that went on until the very early morning in Haus Leipzig. For one DJ to play such a well-balanced wave of compositions, with pace was very outstanding. Kudos was really give to ‘ToM Manegold’ for this endurance ballet that was well received until 6am.

Monday – Classical Aftermath

A neofolk recovery began at 12pm; closing the window shutters to shield from all natural light, and those baths where they were all for nothing, the only God today was coffee. However one last big leap into the black unknown we do.

To stay safe; the Heidnisches Dorf and Agra, were in good walking distance of each other. The medieval village, acted as perfect recovery. Serving flesh and Met, the combination hugged the stomach like an animal finding water in the desert.

The Heidnisches Dorf stage, takes on myth, folk and Viking type musical taste. For me it is the slightly rougher part of the festival on the corners. However also the most easy-going down to earth part, as a more metal feel is here and the delicateness of Gothic upper nose is a million miles from here.

Back to the Agra and Neuroticfish opened the artist set for Monday, making the crowd ride a huge future pop wave to the sound of Sascha Klein’s voice. The band brought a set of new work from ‘A Sign of Life’ and entertaining all by switching to some of their old school EBM tributes such as ‘Is it Dead’.

The sound of Velvet Acid Christ live unfortunately did not do the studio sound justice. The first time I saw the band live; yet I think it would be the last. I think Velvet Acid Christ in daytime will never work.

The Monday, for me is always the hardest as the shop owners at the agra begin disassembling the stages and already the wind down is happening, as Leipzig slowly returns.

What the 25^th anniversary marked clearly to me in point, was that the festival management was strong and sound. Able to deal with the additional organisation and cost associated with an anniversary and meet expectations. The collapse of 2000 which saw the failure of the festival is left to rot in the cupboard, as here is a well-tuned machine only getting better.

Stay tuned for updates on 2017 WGT!

Dominic Lynch aka DJ LX-E

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Live: Desertfest 2016 - London, 29/04/2016 - 01/05/2016

DESERTFEST
London, UK
29/04/2016 - 01/05/2016 

With classic lack of foresight I upgraded myself from punter to critic whilst travelling on the East Coast mainline to London without having even the vaguest outline of which bands I wanted to see. But, undeterred I dropped my bags off at my Kings Cross dive hotel and headed out to Camden to feast my senses on the Desertfest 2016 experience.

First up were Egypt at the Electric Ballroom, with the American power trio so keen to start that they had to be told to leave the stage and come back on 15 minutes later! When they eventually began the crowd were treated to a feast of bluesy riffage, starting with 'Valley of the Kings' and ending with a ten-minute wig-out of the raunchily upbeat 'Dirty Witch' by way of the standout track of their set - a wonderfully mellow 'Queen of All Time', which went from smokey lead lines to heads-down doom stomping.

Following that were another trio, Sweden's Asteroid. Less compressed and overdriven, their sound distinguished by clearer riffs and hectic fills, the suitably attired chaps had a cocky and exuberant blast as they romped through a divine demonstration of stoner rock, ending with a gorgeous rendition of 'Time'.

There then followed a sudden change of musical gear as the rather heavier Crowbar took the stage for a brutal but musically sparse set, demonstrating fierce riffola and a monochrome delivery that impressd the crowd at the increasingly rammed Ballroom. Following them were Friday's headliners Corrosion of Conformity, whose blend of desert rock and hardcore hit the right spot. Rather a minority interest in their heyday, CoC can now command a room full of devoted (and young) followers - your correspondent was lectured by a young fan in the toilets asking if I'd heard anything by 'Corrosion' ("only 25 years ago", I replied) - and on the strength of this performance, deservedly so.

Saturday kicked off with Leeds' very own Bong Cauldron. Now, I may be rather biased having seen the lads play so many times (and I'd probably go to Tory Party conference if they were on) but their performace to a packed Underworld was simply extraordiinary - slower and heavier than a supertanker, and full of killer riffs such as 'Bury Your Axe in the Crania of Lesser Men', Bong Cauldron are surely on their way to bigger and better things in the world of Doom.

Back at the Ballroom, Conan collectively tore a hole in the cosmos with their incomparably brutal set. With old classics like 'Hawk As Weapon' mixing it with newer, faster cuts such as 'Foehammer' and 'Revengeance', they appeared to be exactly the act Desertfest was made for. Battle Doom? Yes please!

Meanwhile over at the Dev, one of the least spoiled corners of Camden's former gothic splendour, My Project Ghost were just wrapping up a set of much juicy extremity.

Sunday kicked off with the rather mighty Witchsorrow at the Ballroom. With a set so crunchingly loud that it got my skull shaking, they served up one of the best performances of the weekend - droning low riffs and hard delivery, wrapping a bleak message of hopelessness and doom, this was the closest I'd seen them match the power they promised at Damnation 2012 all those years ago. A set which boded well for their durability on the UK doom scene.

Blood Ceremony, however, were even better. Having been on tour for weeks they were professional as Satan and polished to a shine, showcasing material from their new album 'Lord of Misrule' as well as lesser-played tracks like the sublime 'Drawing Down The Moon'. Singer Alia O'Brien's vocal virtuosity as well as her skills on organ and flute elevated the set firmly into the occult stratosphere, the crowd lapping up a sound that combined retro doom riffing with gothic ham stagecraft.

And then it was off to Koko with all the stampeding doomy hordes for Electric Wizard. As difficult as it is to analyse a sound so immense and dense as the Wizard's, it would appear that in contrast to their punchy and punishing set at Damnation their sound was slightly looser, fuzzier, and trippier - the result being a deliciously accessible and entertaining mammoth of sludge which had the crowds in doomy rapture. No encores given (in classic Wizard style) but none required, as all were fully satisfied and probably stunned by their full-on sonic assault. Peerless.

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Live Review: Acey Slade – Yardbirds, Grimsby 20/04/2016

ACEY SLADE (+ Ruby And The Knights)
Yardbirds, Grismby
20/04/2016

Grimsby might not be the first town you'd expect to be on a list alongside usual stops such as Glasgow, Edinburgh, London and Sheffield, but Acey Slade has made sure he drops by on his low-key acoustic tour. The Brooklyn, NY musician famous for being a part of acts such as Dope, Murderdolls, Wednseday 13, Amen, and Joan Jett and the Blackhearts as well as his own bands Trashlight Vision and Acey Slade & The Dark Party gets as stripped back as possible on this tour. It's just him, a semi-acoustic guitar and electro-acoustic accompaniment from Billy Liar. It's different... maybe even a bit of a gamble for someone known for raucous rock 'n' roll, but it pays off.

Kicking things off is local act Ruby And The Knights. Playing a serviceable blend of classic rock and metal sent through a deathrock filter with their classic goth aesthetic creating a nice visual hook. The songs are in places a bit generic pub rock, but the band display some great songwriting in places and their performance is solid throughout their set. The only real criticism is that despite the strong vocals for front-woman Ruby, they do get a bit repetitive as she uses the classic rock wail a bit too much. Otherwise they look to be a promising local talent.

Yardbirds, if you haven't had the pleasure, is a small biker bar with a long history of putting on live bands. It looks and smells of rock 'n' roll and despite it's intimate dimensions it is a comfortable fit for the US rocker and his smaller than usual entourage.

The tag-line for this tour is “Playing hits and talking shit” and that's exactly what you get. Despite the acoustic set-up it is evident from the very start that Acey Slade has more punk rock in his little finger than most full bands could muster in their entire being. The performances from Acey and Billy liar are bristling with energy and full of life as he hurtles through his own hits as well as those from his time in Joan Jett's band as well as Murderdolls. Particular highlights included 'Allergic To You', 'Love At First Fright', 'Welcome To The Strange', 'Crimson And Clover', 'Radio', '197666', 'Black Apples' and the brief Bowie tribute in the form of 'Moonage Daydream'. There was even space for Billy Liar to take the microphone for a rendition of his song 'Pills'.

Between songs Slade told stories, made jokes and interacted with the crowd. It felt open and personal, like a homecoming show. It was a raw, honest and fun performance that showed off the power of his skills as a vocalist and performer in general. It was a gamble playing this kind of show but it works really well and more than payed off for Slade and co.  

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Live Review: Amorphis – Rescue Rooms, Nottingham 24/03/2016

AMORPHIS (+ Poem, Textures)
Rescue Rooms, Nottingham
24/03/2016
Returning last year with the incredible 'Under The Red Cloud', Finnish progressive metal outfit Amorphis showed that even after 25 years they are just as essential as ever. Cue a big European tour in support of the album and not only are the band proving they have what it takes in the studio, they're also blowing a host of imitators right off the stage as well.

The small but cosy Rescue Rooms plays host tonight with an early start to accommodate it's ludicrous 10pm curfew time. No sooner have the doors open than Greek progressive metal quintet Poem taking the stage a mere five minutes later. The band plough through a short but sweet set that balances technical prowess with soaring melodies and dashes of intense heaviness. It may not be as well-rounded as the headliner's sound but it is interesting nonetheless and the band receive a warm welcome from those already in the venue. It is just a shame they had to go on so early and only had 25 minutes on stage as they deserved more of an crowd.

Up next Textures hit the stage with their somewhat mad and frenetic blend of technical wizardry and sheer brutality. From the outset it is an all-out assault on the eardrums. Fast riffs, quick changes and heaps of groove are thrown around with impunity for convention. It can make them a little hard to take in in such an intimate environment, but they certainly bring an energetic extremity to the stage that pumps the growing crowd up more and more. With a little longer on stage the band can engage with the audience a little more and throughout the set they look like they are having an absolute blast. Having been around for fifteen years in their own right the band put on a tight and powerful performance worthy of any veteran act.

But tonight's main event is definitely Amorphis. The Finns pack a set with recent hits and find time for a few classic cuts as well. It is just one of those shows that will leave both old and new fans deeply satisfied. The band are tight and energetic from the word go as they launch into new cuts 'Under the Red Cloud' and 'Sacrifice'. Vocalist Tomi Joutsen sounds even better live than on the albums as he switches between death growls and clean vocals seemingly without any effort.

The band's technical ability and on-stage prowess is only surpassed by the crowd's growing frenzy as tracks such as 'The Wanderer', 'Dark Path', 'Silent Waters', 'My Kantele', and 'House Of Sleep' dominate the set list.

The band power through the set with only a small problem with Joutsen's custom steampunk microphone briefly holding things up. Luckily with the use of a spare mic the problem is quickly resolved without it impacting any of the songs.

For the band's encore a thunderous rendition of new track 'Death Of A King' welcomes the band back to the stage in epic fashion, proving that this will evermore have to be an encore track. Similarly epic renditions if 'The Silver Bride' and 'The Smoke' bring the evening to a close as the band bow an leave the stage proving once again they are one of European metal's strongest and most under-appreciated acts.  

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Live: Peter Hook And The Light – Warehouse 23, Wakefield 05/03/2016

PETER HOOK AND THE LIGHT
Warehouse 23, Wakefield
05/03/2016

The man behind the bass of Joy Division and New Order has taken the spotlight for himself over the past few years to give the fans what they want. Faithful, loving and passionate performances of their favourite hits by the two Manchester groups he was so influential in. There is no support scheduled for tonight's performance. Hook at 60 years old instead divides the night into three distinct sets. Set one takes in an array of Joy Division hits, while sets two and three explore the New Order albums 'Low-Life' and 'Brotherhood' in their entirety.

Hook and the band emerge onto the stage to the sound of Kraftwerk's 'Trans Europe Express' before unleashing a tight set of Joy Division classics including 'Dead Souls', 'New Dawn Fades', 'Disorder', and 'Isolation' before rounding it out with New Order's 'Ceremony' (technically a Joy Division song first it was released by New Order as a single 35 years ago). The band worked the energy up in the room with ease before leaving the stage for five minutes before the next set.

Set two saw the band perform New Order's fourth album 'Brotherhood' which spawned the hit 'Bizarre Love Triangle' and featured memorable cuts such as 'Paradise', 'Broken Promise', 'All Day Long' and 'Every Little Counts' which all received with eagerness by the crowd.

After another five minute interval the band return with set number three which offers up New Order's third album 'Low-Life' in full. Songs such as 'Love Vigilante', 'The Perfect Kiss', 'Sooner ' and 'Sub-Culture' continue to incite a party atmosphere in the room while the stunning rendition of instrumental 'Elegia' goes to show what a great musician Peter Hook is.

The band leave the stage again for a little while longer as the crowd chants for more. Obliging the encore consists of three more New Order tracks with 'Thieves Like Us', 'True Faith', and 'Temptation'. There might not have been any 'Blue Monday' or 'Love Will Tear Us Apart' but all in attendance seemed satisfied nonetheless.

You could level an argument at Peter Hook and the Light that it is just an exercise in nostalgia. Well based on the crowd at Warehouse 23 there is still plenty of demand for these songs, and while critics may say they sound too much like New Order, to paraphrase Peter Hook on the night, they may as well “as the other lot don't”.  

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Live: Paradise Lost – Rock City, Nottingham 13/11/2015

PARADISE LOST (+ Lucifer)
Rock City, Nottingham
13/11/2015

With their heaviest album since 1996's 'Draconian Times' in tow, Paradise lost, the originators of British gothic doom metal descend upon Nottingahm's Rock City to round off their latest touring cycle. The band's credentials have ranged from Death Metal, Doom, Gothic, Industrial and come full circle again on this year's release 'The Plague Within'. The band's controversial middle period may have seen their most commercial success, and despite a cannon of strong songs their increasingly heavy outlook has successfully re-engaged their long-time fans while introducing those who may have got into the band through their industrial metal phase to doomier sounds.

But first on the bill tonight is the latest darlings of Rise above Records – Berlin/London based psychedelic occult rockers Lucifer who have been consistent support for the headliners on this seven week tour.

The band's first album 'Lucifer I' has seen them gain attention over the summer to the point where a decent portion of the crowd are interested to see them as they hit the stage. The band lead by former The Oath front woman Johanna Sadonis command a strong presence backed up with groove-laden rhythms, strong riffs courtesy of ex-Cathedral man Gary Jennings. Sadonis' vocals punch through the swirling Candlemass meets Ozzy era Sabbath backing and injects dominant melodies with ease.

The band's lead track 'Izrael' provides their final song for their set and is undoubtedly the best received of the night, but in particular tracks such as 'Morning Star', 'Sabbath', and 'Anubis' provide high spots in a solid and tight set that will see many in attendance converted.

The night's headliner's should be a band that need little introduction by now. The Halifax based arm of “The Peaceville Three” that put British doom back on the map with albums such as 'Gothic', 'Icon' and 'Draconian Times' in 2015 mark a triumphant return to their heaviest sounding album to date. And tonight's set reflects this. The band take to the stage and unleash a barrage in the form of 'No Hope In Sight' from the band's new album 'The Plague Within' before heading right back to 1993 with 'Widow'. It's a strong start further solidified with a big sing-a-long rendition of 'The Enemy'.

The majority of the set is gleaned from the latest album with songs such as 'Terminal', 'Victim Of the Past', 'Beneath Broken Earth', and 'Return To The Sun' getting welcome airings. The band's middle period gets only the briefest of look-ins with 'Erased' making an early appearance, and 'Say Just Words' rounding the encore off. But with 'Praise Lamented Shade', 'Enchantment', 'As I Die', and 'Faith Divides US – Death Unites Us' marking undeniable high points and rounding the set out more.

The band are on top form. The performance is tight and professional befitting their now veteran status. Nick Holmes' vocals sound great as they flit between death grunts, anguish shouts and deep croons. And there is plenty of self-deprecating quips and audience interaction to boot. The band have had a good year, one that has further cemented their place as one of the top British metal acts of the last 25 years. By the time the band come to leave the stage having given their musical legacy as well as their present direction a fitting showcase and showing that they are still a force to be reckoned with.

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