When Axl Rose waxed romantically about cold November rain in back in 1992, he clearly wasn’t singing about Leeds on a Saturday morning. A cold, depressing day darkened by oppressive black clouds showering their misery relentlessly from above, there is nothing romantic about Leeds city centre. However, above the sound of rain pelting against umbrella canopies, and cars splashing through ankle-high lakes of dirty water, there is hope. Somewhere out there is Damnation Festival. Continue reading
Damnation Festival is upon us, returning tomorrow, 2 November for that is extreme, unholy, and revolutionary in music. The festival is Sold out completely. Among the bands on the stacked bill are Opeth, Mayhem, The Vintage Caravan, Alcest, Venom Prison, Birds in Row, Dawn Ray’d, Imperial Triumphant, Lord Dying, Inter Arma, Primordial, Dragged Into Sunlight, Gaahl’s Wyrd, Gost, Voices, Blood Red Throne, Jo Quail and Carnation, and more. Continue reading
Borknagar has shared their new video “Voices” from their new album out today, True North (Century Media Records). Directed by Lars A. Nedland and Alexander Olsson / RedinkFrame for the album’s closing track “Voices”. Check it out now! Continue reading
In Flames have shared the lyric video for the lead track off of their album I, The Mask (Nuclear Blast/Eleven Seven Music Group), ‘Voices’. The band headlines their second annual Borgholm Brinner festival this weekend August 2nd and 3rd, on the isle of Öland in Sweden. In Flames will perform two sets each day, along with an amazing lineup curated by the band. See the bill below. Continue reading
One of the saddest parts about Akercocke going on hiatus all those years ago was the fact that after Words That Go Unspoken… and Antichrist (Earache) there was a tangible feeling that they were on course to release something truly ground-breaking. Whilst their recent release Renaissance in Extremis (Peaceville) was very welcome indeed, I couldn’t help but feel that the return to an earlier sound left that potential untapped. Continue reading
Wormrot will be unleashing Voices on October 14th via Earache Records, and the Singaporean grindcore band have, once again, written and recorded an absolutely brutal attack on your senses. Continue reading
With an announcement on their Facebook page, Temples Festival which was to take place next weekend has been permanently cancelled. Ticket refunds are available at point of purchase. The fest was to have been headlined by the cream of the crop in underground metal such as Mayhem, Melvins, and Carcass, alongside bands such as Agoraphobic Nosebleed, MGLA, Windhand, Iron Reagan, Dragged Into Sunlight, Primitive Man, Jucifer, Vision of Disorder, Undersmile, Voices and many more. In a message festival organizer Frances Mace gave an explanation and apology to all involved claiming the fest “can’t face another year of debts & damage..”
Patrons of Temples Festival,
After an arduous 48hrs of uncertainty, and with deepest reluctance we have been forced to cancel Temples Festival 2016.
At the beginning of last week, the organisation we had onboard to finance the event pulled their funding, and with limited access to advance ticket sales and no sponsors to back us we have been unable to source the funding required to cover the overheads which would allow Temples Festival to go ahead.
Following Temples 2015, we were left with a sizeable debt and as opposed to dissolving the company and declaring bankruptcy – I decided to take on the debts personally and subsequently pay off all our creditors in instalments as quickly as possible, this meant bands, staff and contractors were all paid late – and it’s had a crippling effect on both my professional and personal life as a whole – truth be told, I made a series of bad business decisions and dealt with the situation very poorly – which I take full accountability for.
I’ve spent the past week trying to gain access to the funds we need to make this year work and avoid the problems we encountered following last year’s event, with our financiers pulling their involvement – it’s been an uphill battle, which I’ve fought to the best of my abilities – and unfortunately, have been defeated.
Over the past weekend, I’ve been attempting to produce the festival’s continuation on a ‘scaled down’ level so we can offer something for those of you who have purchased tickets, accommodation, transport etc and allow the bands who are touring, UK based etc – unfortunately this morning it became clear that even if we were to proceed as such, we’d be left with another huge debt and therefore unable to pay the bands, staff, venue, contractors and a number of other crucial overheads the festival relies on – thus repeating the mistakes that were made last year.
Having already lost in the region of £70,000 throughout Temples Festival’s existence – I’m afraid adding more debt to that will simply cripple both myself and the festival, and after such a difficult year it’s not an option for me to take on such a huge debt personally.
I am deeply deeply sorry to all of those who will lose out as a result of this decision, having put three years of my life and having already lost so much of it to the festival I’m afraid there is no option to continue with Temples Festival 2016 and I take full responsibility for events cancellation. I am truly sorry.
My intention was always to setup a unique UK festival which books bands who are rarely seen in the UK, I’ve tirelessly dedicated myself to this event for a long time now and the decision to cancel this year’s event has been unequivocally the hardest call I’ve ever had to make in my life. My sincere apologies to those of you who will lose out as a result of this, I am truly sorry – but I can’t face another year of debts & damage.
Thank you to everyone who has actively supported Temples Festival from the start, I launched this ambitious event with the best intentions and unfortunately it’s become too damaging for me to oversee single handedly. Although curating the festival is something I’ve been able to do well – managing the business side of the event has proven too much for me. I’ve been promoting concerts for half of my life, and those of you who know of the work I’ve done will hopefully be aware of how upsetting and damaging this decision has been to me on every level.
Our ethos has been No Surrender for the past year, as I was determined to make this festival work and finish what I started. I’ve worked so hard to make this happen for our Patrons in 2016 but against my will and core beliefs – today’s news has forced me to surrender.
Ticket refunds are available from your point of purchase, please contact them for a full refund.
Again, thank you to those of you who have been supporting this event for the past three years – your encouragement and kind words have kept me going through incredibly difficult times and I hope that despite this negative outcome you’ve at least enjoyed the two events we hosted for you. I’m proud of what was achieved with this event, and if there was any way of making this year work I’d be continuing with the same passion and dedication which oversaw the last two editions of Temples Festival.
With the utmost regret & sincerity,
– Temples Festival
After bumping into three-quarters of Undersmile who by their own admission were now “on a band outing”, it was time for tea, and also to enjoy half an hour with our “Pressed out” esteemed UK Editor. As Diego Costa massacred a defender’s facial features (odd that…) on the big screen, the magnificent Old Bar provided wondrous sustenance in the form of a chilli dog, death burger and storming IPAs for just around £15.00.
This was all damaged in time to witness one of the final showings of the majestic Altar of Plagues, a band still vital, still relevant, always adored and fully compelling. The Blackened Industrial outfit caused the first real queue into Eyesore, testament to the appeal of the Irishmen who showed with mind-blowing creativity and a little more action (plus a real drummer) what C.R.O.W.N. could have achieved. It was almost impossible to see through the – yes, you guessed it – ridiculous light display, but the drama that the Boys infused into all by the inflections of their riffs was impossible to ignore. Leaning on the cabs of the mixing desk it’s staggering to see the calm yet assured way mixers Johnny and Harry help to make this all sound so dynamic: indeed, as the impossibly youthful James Kelly issues a subtle “cheers Leeds”, you’re nevertheless almost unsure who to watch next. Especially as there were no flashing lights emanating from the lesser-known duo…the swell of the closing coda was a fitting climax to a blinding set in more ways than one.
The second journalist to take the stage today, Nick Ruskell’s Witchsorrow plied forth their Electric Wizard-esque Doom which, though musically strong and ripping through the packed room, is not augmented by Ruskell’s limited vocal and rather unimaginative stage banter [PQ].
Last year, Icelandic post-rockers Solstafir walked away with all the (non-Bolt Thrower) plaudits, with the second stage unable to contain their emotive, powerful epics, punters locked out and the room filled to bursting. Invited back to sprinkle their magic dust over the main stage, once again Aðalbjörn Tryggvason holds Leeds University effortlessly in the palm of his hands, their beautiful, lapping, and pervasive striking hymns swirling and rapturously received [ST]
Listening to Colin van Eeckhout, however, is like listening to a tormented angel. First harmonising in Benedictine style, then screaming in twisted agony. Barefoot and in shorts, he sprang as the incredible Amenra reduced the hall violently to tears in an instant; Eeckhout facing backwards, bounding and screaming maniacally whilst vast swathes of post-Black Metal crashed about him. There were few flashing lights here: just a black-and-white backdrop flickering between speeding clouds, rippling water and Flanders fields-style explosions. The drama, the mysticism, was as potent as the sparing chords shimmering from the guitars of the frankly alarming Levy Seynaeve: van Eeckhout’s head bowed, the aching wounds apparent in the ensuing screams. Halfway through ‘Nowena 9|10’, he spun and faced us ever so briefly, and the image was complete. Subsequently removing his t-shirt as he knelt toward the drums for the unnerving ‘Boden’, the tension and empathy could be touched. Shattered, spent bodies were somehow stood absorbing every last increase of sound. All bar the knelt, bowed body of the greatest living ball of intensity I’ve ever encountered.
Amenra were beyond moving and I’m unashamed to say that I was violently sobbing as I rocked back and forth with the troubling yet transcendent experience.
Robbie is in his fifties, and took his security role seriously yet with a degree of deadpan which endears him to the punter. “There’s never any bother here. Well, apart from it killing mi legs” he reflected with a cheeky yet droll sarcasm. Directing entry to both the Terrorizer and ‘Mine areas, it was an intense yet obviously enjoyable role for him.
Meanwhile, at ‘Mine, it was hard misfortune that saw arguably the UK’s best Occult Doom band slotted in between two of the best live draws in World metal, and clashing with High On Fire. As a result, the dungeon was half-full for a crushing set from The Wounded Kings. An atmospheric experimentalism married with a pulverising groove, Steve Mills’ solos were a real breath of air whilst George Birch’s oscillating vocal is almost unique, Pete Steele-like; his guitar squealing, his shapes mesmeric, the man has grown into a consummate frontman. It was great to see the two old friends duelling together in what is now a real unit, with closing track ‘The Message’ a whirling mass of pulsating noise.
Primordial at Damnation Festival 2015. Photo Credit: Rich Price
And so to the Greatest Band in the World™. Certainly, surely, the greatest frontman. It’s staggering that there’s room at all to get in to see Primordial, but thank the Heavy Metal Gods that there were a few slivers for a chubby dude to slip in to. “We meet again!” hollers Nemtheanga after a rapturously received ‘Where Greater Men Have Fallen’, and once more a rapt throng is in the palm of his hand – if there was ever any doubt. ‘Babel’s Tower’ saw a worshipping collective almost motionless as they dropped on every word, every dramatic itonation, every plaintive act of defiance, every indelible scream. “Everywhere I look I see old friends” uttered a typically effusive Alan Averill, subsequently leading the audience participation of ‘As Rome Burns’, a powerhouse which grabbed all in roared intonations. The euphoric yet moving ‘Wield Lightning to Split the Sun’ had Averill beckoning and clawing his belly with wrought passion, asking the usual question: “Are You With Us?!”
As ever, as One, we were.
As is always the case, the closing band on the ‘Mine stage was half-attended. As always it was a big miss for the ovine hordes. Tonight 40 Watt Sun were minimalist, light yet crushing, and utterly heartbreaking. This band transcends Doom heaviness, Post musicality, Shoegaze emotion, and Folk personification, to create a chilled yet pained entity which simultaneously relaxed and tweaked every synapse and demanded to be heard and enjoyed. Patrick Walker delicately strummed his guitar, whilst his edgy Folk voice shattered the soul with its poignancy. And still, people didn’t shut the fuck up. The delight is that new songs were being played, the second of which – if Walker’s hushed whisper is to be correctly interpreted – was called ‘Beyond You’. It’s arguable whether such pared-back, Funereal balladry belongs at such an event, but not for the lachrymose souls like myself and what seems like most of the Belgian contingent, one of whom tells me to ‘Ssh’ quite vehemently as I’m instructing a fellow watcher to do the same; go figure… ‘Carry Me Home’ was received like a long lost friend and intoned lovingly and emotionally; there was a growing fear that the early finish was permanent before the trio returned to deliver a hackle-raising ‘Restless’ which, in true ’Queen in Rio’ fashion, was sung emotionally and lustily to Walker for the most poignant, tear-inducing end to a night I’ve ever been a part of [PQ].
The reason for the thinner crowd than deserved for 40 Watt Sun? A triumphant conquering from Swedish legends, and festival headliners, At The Gates; a barnstorming non-stop roil of jagged riffs and powerhouse anthems spilling forth in a slew of genuine metal classics. Liberally sprinkling the set with visits to last years At War With Reality (Century Media) showed the newest addition to their canon more than holds its own in the presence of greatness.
And if you wanted extreme metal greatness, you got it. ‘Death And The Labyrinth’ begat ‘Slaughter Of The Soul’ running headlong into ‘Cold’ in a set opening par excellence and par violence, matched only when ‘Under A Serpent Sun’ vomited into ‘Windows’ into a vitriolic ‘Suicide Nation’. Elsewhere ‘Nausea’ brought the sickness, and ‘The Book Of Sand’, amongst others, crushed as ATG delivered their strongest live performance on these sceptre isles since reforming.
As the beers (by now the in-venue piss of Red Stripe) flowed as quickly as the riffs, an encore of ‘Blinded By Fear’ and an unbelievably scything ‘Kingdom “Fucking” Gone’ devastated, before the fuck you of ‘The Night Eternal’ sent the throng home sated in HEAVY metal brilliance. [ST]
Damnation is always one big rush: for fan, organiser, band member, reviewer, and every one of those wonderful unsung heroes that help to run the day. That situation is made worthy by the realisation of the anticipation: all of the friendships forged throughout the day; the fan rubbing shoulders and glasses with the performer; the scribe meeting old friends in the form of fellow scribes, interviewees and Legends. For all of the magical days on a Metal fan’s calendar, there aren’t many to compare with the sheer enjoyment and camaraderie of this first Saturday in November. Amenra didn’t so much steal this one as clutch it to their fractured breasts for all eternity, but there were many more acts making this one so special. This has to be the greatest value-for-money exercise around right now, and the small but heroically dedicated band of organisers has left itself one massive, collective headache to work out how to match this for next year [PQ].
WORDS BY PAUL QUINN
PHOTOGRAPHY BY RICH PRICE
Half an hour after doors opened to the latest instalment of what is surely one of Europe’s premier indoor Metal festivals, my gig buddies and I witnessed a spotty oik giving lip to a (albeit somewhat intolerant) doorman; meanwhile, one or two of said security bod’s less experienced colleagues were being unnecessarily stringent in barring perfectly acceptable entries to the Leeds university Old Bar. Youth, it would seem, is not always the desirable status us old’uns seem hell-bent on recreating…
As if to prove a point, the experienced boys of Colchester’s The King Is Blind ripped the Terrorizer stage a new one with their Blackened Death Doom hybrid and, in doing so, gave Damnation 2015 a fiery opening. The initial crowd had bred tenfold by the end of opener ‘Devoured’, and it was obvious from frontman Stephen John Tovey’s grinning visage that this was as enjoyable for the protagonists. Tovey threw horns with gay abandon and the band produced drops with the weight of a crash of rhino. New track ‘Genesis Refracted’ was lapped up by a crowd which needed a little time to get going, but eventually whipped up a small but vicious ‘pit’.
Undersmile had the crowd to themselves in the day’s only ‘non-clash’ slot on the Electric Amphetamine (referred to as the ‘Mine), third, stage, and every note of their shuddering Grunge Drone splintered bone. The screamed “Swim on” refrain of set opener ‘Atacama Sunburn’ disembowelled, the bewitching defiled dolls Hel Sterne and Taz Corona-Brown holding court whilst rhythm partners Olly Corona-Brown and Tom McKibbin waited to deliver the crush. A snaking, pulverising ‘Sky Burial’ concluded a hypnotising yet visceral set and surely gained this prepossessing quartet more fans in the process.
The first offering of three from the Belgian ‘Church of Ra’, Wiegedood’s blackened assault packed out the second stage, no doubt partly due to the Amenra connection, but that doesn’t take away from the deeply meaningful assault; whereas our first visit to the Eyesore saw the fiddle-graced Post-Rock of Talons compel a sizeable throng, and my first encounter with the dreadfully affecting, strobing lights.
Beer was flowing freely in the University’s Terrace bar so it was somewhat surprising to see ‘Jack and Alice’s storming burger joint doing less well. Guys, the cheese and bacon special was to die for…!
Positively shocking was the crush to get to see relatively unknown Kent outfit Ohhms at ‘Mine: two minutes into their set showed the reason. Their bluesy, low-end Reef-esque workout was injected with added spice by vocalist Paul Waller whose mad barefoot ‘surfing’ was the Heavy world’s Bez / Ian Brown hybrid. Captivating, dangerous, infectiously active, the whole band created one of the festival’s most talked-about sets.
French duo C.R.O.W.N. sought to wrest that mantle but their nevertheless atmospheric, Industrial post-Sludge was lacking in movement. Their hypnotic beats graced by static imagery it was a creative and sonically violent set, lazy yet striking, and musically brilliant which almost switched attention from the lack of stage presence – and those fucking lights that also plagued a dramatic set from Voices, for whom the Akercocke spin-off tag was firmly banished by the incredible London (Candlelight); their technical darkness holding the room in its thrall despite missing a certain mobility. Over at Jӓgermeister the Church of Ra’s second offering was laying waste: Oathbreaker’s Blackened Hardcore onslaught drew a huge crowd; vocalist Caro Tanghe leading a frantic, animated delivery.
It would have been interesting to see if Sea Bastard would have filled the main room, as ‘Mine was utterly rammed for the eleventh-hour replacement for Black Tusk. This is a band of implosive power, Oli Irongiant’s lofty stature possibly the only thing to dwarf the power of The Riff, and let rip with the set of the day to this point. Oppressive, the shudders displaced vertebrae along with Monty’s coruscating rasp, while Steve Patton and George Leaver based rhythms that would have crushed Everest. Never has the world seen a guitarist who feels every chord like Oli: grimacing, building the riff with sways of his giant body, his roars needed no microphone. Monty’s dreadlocks hung from his face like the monstrous sea creature they portray during forthcoming track ‘The Hermit’, the rare faster sections still trampling most other acts to dust.
In complete contrast to Vreid’s vicious yet occasionally inventive Black assault over at Terrorizer, Maybeshewill have decided they’ve been peddling their melodic heaviness for long enough and that’s a great shame. With more than a nod to the likes of Sigur Ros they packed out the notorious left upper room and left few dry eyes in the process: their sound icicle-cold yet sweet, nostalgic and heavy, their effusive thanks incredibly moving. Closing one’s eyes and allowing the pulses of light and utterly heart-breaking sound to wash over the head, it was easy to underestimate the fact that 40 Watt Sun was still to come.
The brittle beauty of the outgoing quintet’s melodic sweep seems apt for the story of Jim Willumsen, once of The Wounded Kings and the late, great Ishmael, now doing his fifth festival of the year as a fan. A protagonist of my favourite-ever gig, he is nevertheless happy with his lack of band involvement for now. “It gives me a chance to see loads of different stuff” said this quiet legend of the low-end. It’s also a fitting soundtrack for a meeting with Ian Davis, as former drummer of Grimpen Mire another crucial ingredient of that night and still mourning his former bandmate Paul van Linden, outside the room.
The Ocean came complete with cellist and a whole host of atmospherics, aided by my Bee 17 hybrid lager which, at £4:00 for a coke-sized can, seemed steep but it was a very pleasant change from the swill usually found at such events. This all embellished the German ensemble’s largely Prog effect but also contrasted superbly with the harsher elements of their sound. Jӓgermeister’s main stage was suitably packed, making it hard to believe there was a capacity cut for this year, but their set in 2013 benefited more from the vantage points of this year’s Terrorizer room. Ghold’s appearance at ‘Mine didn’t attract the numbers that previous bands had brought to that area but their darkened doom, like a Death-riddled Conan, rattled already battered heads. The inclusion of a guitarist gave their live presence another, more beneficial dimension to that on record.
WORDS BY PAUL QUINN
PHOTOGRAPHY BY RICH PRICE
You know how it feels when you just can’t decide what to listen to? You cycle through ten albums in as many minutes, hearing bits and pieces of everything but not feeling entirely satisfied by any of it. The first time you listen to Shrines (Apocalyptic Witchcraft) you may well think that you’ve just done that without changing the album.
Shrines are one of those bands that it’s hard to pin down on paper, not because they’ve forced some uniquely individual style, but simply because they jump around so often that it’s frequently easy to forget that you’re listening to the same band. Across their debut’s ten tracks, Shrines cover sweeping Post-Metal, melancholic Black Metal, vaguely pastoral Doom, masterful Death Metal, bullish 90’s Metal chugging and some oddly laconic Gothy stuff about wolves that even manages to sound out of place on this album.
As this review is likely to focus on the negative, it needs to be said that the playing on Shrines is absolutely top notch – the band are in lockstep throughout, not missing a beat despite the complex and changing nature of the material – and there’s no shortage of excellent moments throughout. The problem is that they never manage to coalesce into anything meaningful. There’s nothing wrong with variety, of course, but the bands who really pull it off are the ones who invest every style they touch with a sense of their own identity – Shrines cover a lot of bases with style and precision, but there’s never a sense of who they are beneath that, and each time the album finishes you’re left with no greater idea of who they actually are as a band. The vocals also don’t help, moving (as you’d expect) from soaring clean singing to angry shouts and gruff roars, but never really committing to either and ultimately sounding passive and withdrawn.
Shrines is an impressive performance from a talented band who are undoubtedly trying to forge their own unique style, and for the right listener they may well “click” into something that truly transcends the sum of its parts. Unfortunately, for the rest of us, the abiding impression will be that of so many ideas that none of them really have chance to take root.