In Solitude – Beastmilk – Obnoxious Youth: Live at Sound Control Manchester, UK


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A wet and inhospitable Saturday sees occult Swedes In Solitude roll into town bringing with them the scent of incense and apocalyptic Gothic post punk act Beastmilk in tow. Kvost’s deep rich speaking voice gives way to a powerful howl. The “Superstition” wins over the few early arrivals which tear themselves away from the bar.

Before the vespertine delights of Scandinavia are opened to us we get a change of pace in the form of Daniel Bay. Stepping into the breach for punk Obnoxious Youth, Bay delivers heart felt gothic rock which has more appeal than just his Lost Boys chic torn jeans and frizzy hair.

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The charismatic Mat McNerney leads the newly expanded Beastmilk, including recent recruit Linnea Olsson (formerly of The Oath) through a masterful performance. The man known to many as ‘Kvohst’ is a leviathan master of ceremonies, introducing each song with a quick witted remark before unleashing his distinctive croon. Olsson oozes charisma with the extra fire power having added a new depth to the band’s sound. The raunchy ‘Void Mother’ and a stunning ‘Nuclear Winter’ inspire manic dancing at the front of the stage with many punters as keen to see the apocalyptic rockers as the headline act.

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Lilies adorn the stage and the smell of incense fills the air as In Solitude begin their energetic set. Pelle Ahman possesses the air Nick Cave back in his days in The Birthday Party. Throughout tonight’s ten song set the quartet combine a youthful vigour with impressive stagecraft and dynamite songs. ‘Death Knows Where’ and ‘Lavender’ are soaring paeans to ‘Lucifer’ funelled through classic rock and blues with a visceral punk aesthetic.

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Witnessing In Solitude perform, you can instantly recognise the chemistry the members have built from beginning life in their tender years. The maturity and atmosphere in songs like the all-consuming ‘He Comes’ has the audience in rapture. Still only in their early twenties, if the momentum they have built on latest album Sister (Metal Blade) is any indication, they will be a force for many years to come.

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WORDS ROSS BAKER

PHOTOS BY LUKE DENHAM PHOTOGRAPHY


Electric Wizard – Satan’s Satyrs – Shazzula – Witchsorrow: Live at The Ritz, Manchester UK


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Witchsorrow play to a sparse crowd, but still manage to kick up a storm. Nick Ruskell churns out barbaric slabs of distortion while bassist Emily and drummer David make a perfect partnership in more ways than one. Rivalling Jus Oborn and Liz Buckingham’s partnership in manner in which they communicate so exquisitely with each other.

This powerful compact performance is more than Shazzula can muster. Solo member atmospheric drone doom projects can prove tricky to translate in the live arena and while the accompanying feature film on the back screen helps provide the nocturnal 70s horror ambience this lady is looking for one the organ subsides it is clear that fiddling with an effects unit fails to conjure up hideously introspective feelings of foreboding. In more intimate surrounding this may prove more effective but for now this is a languid trip that few are buying into.

Satan’s Satyrs fully embrace their occult metal heritage featuring vocals very reminiscent of Ozzy Osbourne. ‘Show Me Your Skull’ has some ballsy riffs but other than that there are not a great deal of hooks to draw you in.

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Eerie sound of thunder and the garish projections fill the stage as ‘Witchcult Today’ announces the arrival of Dorset’s Electric Wizard. The second departure of sticksman Tim Bagshaw and subsequent reintroduction of Simon Poole sees a tighter more efficient outfit which should hope to dispel recent memories of sloppy performances.

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For the most part the set flows like molten lava; relentless and constant. Material from new opus Time To Die (Spinefarm) is consistent with the band’s early work, mining the depths of paranoia and subterfuge to compelling effect. Enveloped by a cloak of Hammer Horror psychedelia Wizard are at times mesmerising yet the cavernous venue doesn’t seem prepared for the bombastic showing with tonight’s set being quieter than some of their recent outings.

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While the wheels don’t come off tonight, we don’t escape a snafu in the sound department when Jus Oborn’s amp blows up during ‘Funeralopolis’. Luckily Nick Ruskell is on hand to supply his equipment, but Oborn looks pissed off at this slight interruption. Soon enough the black tar riffage cut through the PA allowing the show to be brought to a cathartic climax. Not the triumph the band would have hoped for but in places Wizard showed capable of transfixing an audience who shall surely be ushered into their loyal Supercoven.

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WORDS: ROSS BAKER

PHOTOS: LUKE DENHAM PHOTOGRAPHY


Uncle Acid and The Deadbeats- Black Moth: Live at Academy 3, Manchester, UK


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Mysterious Cambridge based quartet Uncle Acid and The Deadbeats have ridden a wave of growing popularity which peaked late last year when the group was granted the accolade of opening for Metal Godfathers Black Sabbath. Prior to the main event however Leeds based doom act Black Moth impressed with a storming set showing that female fronted acts don’t need a folk aspect nor drown out their singer in order to make an impression. Harriet Bevan’s lush vocals provide a compelling foil to the colossal riffs of tracks like ‘The Articulate Dead’ and forthcoming single ‘Tumbleweave’ leaving an extremely favourable impression on the packed audience.

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This song goes out to Charlie Manson” is how Uncle Acid elect to introduce ‘Poison Apple’ following the stomping ‘Death’s Door’. Maryland groove machine Clutch are plying their trade just down the road which makes tonight attendance all the more astounding although surely some promoters have missed a trick. Blighted by a technical glitch at the beginning of their set which delayed the commencement of their psychedelic ceremony enraptures the audience with the atmosphere akin to a love in before some idiot at the front is escorted from the building following a fight breaking out during the last number. Never the less `The Deadbeats seventies horror inspired romps inspire much dancing and unbridled revelry. Even slower numbers such as ’13 Candles’ inspires much movement in the crowd who encompass people of three different generations, no mean feat considering the fickle, media driven trappings of the modern music scene. Heady and enthralling guitar work mixed with a compelling mystique tonight Uncle Acid’s swagger and cocksure attitude full justified the hype and praise heaped upon them.

 

 

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ROSS BAKER


Kvelertak – Empress A.D. – Wounds: Live at Academy 3, Manchester, UK


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Boisterous and full of life, Wounds youthful charm sees them gain some approving nods and yelps from the bank holiday crowd. These cheeky Irishmen have given us some catchy numbers that come across like a snotty Cancer Bats without getting the half full venue to liven up to much. ‘Dead, Dead, Fucking, Dead’ still packs a punch showing promise for the future but this clearly wasn’t their night.

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Main support Empress A.D. feel quite out of place on this bill. Playing a set of plodding mid-paced riffs and some vocals which are clearly out of tune, they also provide little stage presence in spite of singer/guitarist Ollie Loring‘s half-hearted attempts to get the sedated audience to participate in any manner. Bank holiday crowds can be notorious for ignoring support acts, but Empress phone in a performance that does little to impress. When a stream of punters are gravitating towards the bar that should say all you need to hear about this lacklustre performance.

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Thankfully the venue is packed for the arrival of Norse wrecking machine Kvelertak. Possessing enough energy to power a generator, frontman Erlend Hjelvik appears in his owl helmet as the band launch into ‘Åpenbaring’ but it isn’t long before he hurls himself offstage into the waiting arms of the rabid fans at the front of the stage. Their potent cocktail of black metal, punk fury and rock ‘n’ roll hooks soon shakes the crowd out of their slump and ignites frantic slam dancing. The infectious ‘Bruane Brenn’ and ‘Ulvetid’ scarcely allow room to breathe with the temperature soaring.

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Admittedly while sophomore release Meir (Roadrunner) was a decent effort, it is cuts from the band’s incendiary self-titled debut that inspire the greatest amount of audience participation. ‘Fossegrim’ pours more fuel upon the burning pyre with its gang vocal refrains being picked up by overjoyed fans who Hjelvik passes the mic to let them sing-a-long. The triumphant encore of ‘Mjød’ and ‘Utrydd Dei Svake’ demonstrate that these Norwegians embody everything which makes hardcore, punk and metal so vital. Another memorable performance from an act who prove that Norway has more to offer than just spikes and corpsepaint. Kvelertak don’t appear to be surrendering their stranglehold on the title of best live band any time soon.

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Words by Ross Baker

Photos by Stuart Alexander Rees


Killswitch Engage – Trivium: Live at 02 Academy, Manchester UK


Trivium Matt Heafy 2Traffic is an inconvenient thing when you’re doing anything but when you’ve got somewhere to be, it always seems to take the biscuit that little bit more. Unfortunately, this was the situation that occurred as this guy made their way to the Manchester Academy and as such, the first and second acts of the night, Battlecross and Miss May I, were not seen through these writers’ eyes. Luckily a friend with usually excellent taste was on hand to witness the Ohioan five-piece and her review, so elegantly put, was “f-ing awesome,” so lets go with that. Trivium, however, was thankfully a different story and one that starts with yours truly actually getting to observe some live music in action. Having witnessed these boys before in a fashion that brought words such as lacklustre and tedious to mind, it was with surprising but blisteringly excellent style that the Floridian metallers went about their set, showing how far they’ve come in recent years.

As for the rest of the room’s reactions, they too seemed to be more than happy with the performance in front of them, ‘Down From The Sky,’ ‘A Gun To The Head Of Trepidation’ and ‘Shogun’ being of particular vocal highlights amongst the mostly blurry-eyed fans. The music however wasn’t the only thing we were treated too. Smoke bursts and lighting effects to rival the Olympics brought another entertaining if not blinding dimension to their show, an element that always appears to come to the stage when this four-piece is in town. Ending the show with the an excellent rendition of ‘Pull Harder on the Strings Of Your Martyr,’ trivium left the stage having shot many a proverbial bullet to any trepidations that I or others may have had concerning their live prowess.

For the main act, or seemingly most popular act in the Academy anyway, it was their turn to bring the noise and this time the room tinged with so KSE Jesse Leech 1much drunken and sober (ahem) enthusiasm that it even the most cynical of spectators would have been hard pushed not to be swept up in it. Coming out to ‘Eye Of The Tiger,’ Killswitch Engage (KSE) leapt on to the stage, their leader Jesse Leech brimming with confidence and front man swagger. Launching into ‘A Bid Farewell,’ the crowd wasted no time joining in with the verbal festivities, word for word being sung back to the quintet. As for the makers of the music, chugging beer on stage, encouraging female viewers to expose their breasts when on friends shoulders and generally having fun were just a few things in the KSE repertoire, showing to those who could see the love they have for what they do.

Musically it was as tight and as brilliant as we’ve come to expect from KSE, but it was lead man Jesse who, for me anyway, really stole the show. Screaming or singing, Jesse’s vocal performance was excellent no matter which way he was vocalizing it, and having being disappointed by the Howard Jones departure before, it’s safe to say I am no longer (we still love you Howard!). A wonderful set and fantastic show by the KSE boys, the Massachusetts five-piece brought tracks such as ‘The End Of Heartache,’ ‘My Last Serenade’ and closing number ‘My Curse’ to a new level of awesome, one that they managed to bring throughout and one they will undoubtedly continue to do as long as their metal-core hearts beat on.

 

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Words: Emma Quinlan

Photos: Emma Stone