Quicksand - Camden Electric Ballroom, London (12/6/14)
Tonight has brought all the old faces from the hardcore scene out, some of whom I haven't seen in over ten years. After the initial excited hellos and smalltalk, you run out of things to say because you realise that you've moved on and the years apart mean that you don't have that much in common anymore.
The relationship with Quicksand is similar although the problem is more down to the band rather than the audience. The old songs still have the same ability to excite and inspire but it is clear that the band themselves have moved on and they aren't the same band anymore.
The band open with Omission. The band seem fairly tight but the sound balance is odd. The bass is dense but the guitars sound oddly hollow and tinny, and the vocals seem far too relaxed. Walter's vocals are often languid and off key (his singing is closer to the style he used in Rival Schools) which derails numbers such as Freezing Process, sapping them of energy. The building is a lot bigger than expected which doesn't help either as the sound struggles to fill it.
It isn't all bad however. Head To Wall is more powerful and Walter's vocals are more aggressive which makes a difference although Sergio's backing vocals on the chorus are hideous. Fazer creeps malevolently before exploding into a bulldozing chorus. An excellent Unfulfilled is driving and powerful. This is closer to the Quicksand I remember.
Surprisingly, the Manic Compression material fares much better than the earlier material. It's solid, dense and heavy as showcased on the brooding chugging of Delusional or the heavy and anthemic Thorn In My Side.
I think I have been spoilt by seeing the band a couple of times in their nineties heyday. I know lots of people who enjoyed the show, but I found myself comparing it to those old shows and, unfortunately, tonights show doesn't come close to capturing the magic that I know this band can conjure.
Tuesday, 29 July 2014
Sunday, 27 July 2014
Closet Monster - Killed The Radio Star
Closet Monster- Killed The Radio Star
This politically minded Canadian band from the early part of the millennium, played fast punk rock laced with strong harmonies and melodies.
The first track, Battle Cry For A Better World, is fast punk rock with yobbish singalongs but with some great melody running through it, giving it a Kid Dynamite meets The Explosion feel. The Great Mall Explosion, with its brattish lead vocals, nails the poppier side of the first Kid Dynamite album. The Anti-Racist Singalong with its 'na na na na na' vocal lines, has a Dickies feel.
A lot of these songs are really good in isolation but the general lack of variety means that this album does get a little tiring and loses some of its impact, although the piano led Get Up Kids balladry of Melody's Song is a welcome respite.
The message is key for music like this, and is almost as important as the music. Some of the liner notes and lyrics are good. I particularly like 'Music is art, Ideas come from inspiration, Information creates awareness' which can be found in the inlay while The Great Mall Explosion's lyrics about the selling out of punk rock are good. However, the inlay also states 'the scent of revolution is in the air' (no, it isn't) which possibly explains why too many of the lyrics are in your face and idealistic. These lyrics would have been right up my street when I was in my twenties but now I'm in my forties, I'm not so sure as my ideals have changed. The music's appeal has waned similarly too, I suppose.
This politically minded Canadian band from the early part of the millennium, played fast punk rock laced with strong harmonies and melodies.
The first track, Battle Cry For A Better World, is fast punk rock with yobbish singalongs but with some great melody running through it, giving it a Kid Dynamite meets The Explosion feel. The Great Mall Explosion, with its brattish lead vocals, nails the poppier side of the first Kid Dynamite album. The Anti-Racist Singalong with its 'na na na na na' vocal lines, has a Dickies feel.
A lot of these songs are really good in isolation but the general lack of variety means that this album does get a little tiring and loses some of its impact, although the piano led Get Up Kids balladry of Melody's Song is a welcome respite.
The message is key for music like this, and is almost as important as the music. Some of the liner notes and lyrics are good. I particularly like 'Music is art, Ideas come from inspiration, Information creates awareness' which can be found in the inlay while The Great Mall Explosion's lyrics about the selling out of punk rock are good. However, the inlay also states 'the scent of revolution is in the air' (no, it isn't) which possibly explains why too many of the lyrics are in your face and idealistic. These lyrics would have been right up my street when I was in my twenties but now I'm in my forties, I'm not so sure as my ideals have changed. The music's appeal has waned similarly too, I suppose.
Thursday, 24 July 2014
Live Review
Nine Inch Nails & Cold Cave - Capital FM Arena, Nottingham & Phones 4 U Arena, Manchester (24/5/14 & 25/5/14)
I'm going to combine the reviews of the two shows rather than review them individually. I didn't see all of the first show as I'd made arrangements to meet up with some friends.
Cold Cave are much tighter than the last time I saw them live. On the one hand, their gothic tinged, electronic new wave has much in common with the headliner's early indebtedness to Depeche Mode but on the other hand, Nine Inch Nails draw a rock/metal crowd who appreciate heavier fare. They may be arguably the wrong band for the crowd but the reception they receive is warm. There are hints of Japan, Blancmange, Human League and even the fucking Lightning Seeds at various points in their set. Wes Eisold's deep and melancholic vocals obviously have an Ian Curtis influence but there are touches of David Sylvian and Phil Oakey about them too and overall, it reminds me of Sylvian fronting Visage. Good stuff.
Nine Inch Nails play a different set each night but they are immense on each occasion. They are much heavier than on record, with the guitars set to kill, and yet the sound is still crystal clear.
An urgent March Of The Pigs is crushing and rousing at the same time, and only sounds more urgent in Manchester. Terrible Lie is amazing. Reptile is crushing, monolithic Terminator doom. It isn't all pummelling however. All Time Low has a cool '80s Bowie vibe whilst Sanctified is given a dark '80s pop makeover. Piggy also offers a slight respite although it's Lynchian feel is still intense.
The light show is amazing too, bludgeoning the visual senses just as the music is destroying the aural senses. The visuals accompanying Disappointed are incredible and elevate the electronic pop into something otherworldly.
There are so many high points during each set. Copy Of A Copy is a driving, pulsating floor filler. Gave Up suffers from a disjointed start but recovers to pulverize. Closer is awesome and moves directly into a snippet of Down In It. The industrialised electronica of Come Back Haunted is apocalyptic while the two stepping industrial metal mayhem of Wish slays. The Hand That Feeds is NIN at their most commercial and it's a real crowd pleaser. The crowd erupts for Head Like A Hole and it's pretty joyous watching thousands of people singing along in unison. A sparse and powerful Hurt, which closes the Manchester show, is devastating.
Both shows are excellent but Nottingham was probably the better show as they played a much heavier set which was both surprising and incredible.
I'm going to combine the reviews of the two shows rather than review them individually. I didn't see all of the first show as I'd made arrangements to meet up with some friends.
Cold Cave are much tighter than the last time I saw them live. On the one hand, their gothic tinged, electronic new wave has much in common with the headliner's early indebtedness to Depeche Mode but on the other hand, Nine Inch Nails draw a rock/metal crowd who appreciate heavier fare. They may be arguably the wrong band for the crowd but the reception they receive is warm. There are hints of Japan, Blancmange, Human League and even the fucking Lightning Seeds at various points in their set. Wes Eisold's deep and melancholic vocals obviously have an Ian Curtis influence but there are touches of David Sylvian and Phil Oakey about them too and overall, it reminds me of Sylvian fronting Visage. Good stuff.
Nine Inch Nails play a different set each night but they are immense on each occasion. They are much heavier than on record, with the guitars set to kill, and yet the sound is still crystal clear.
An urgent March Of The Pigs is crushing and rousing at the same time, and only sounds more urgent in Manchester. Terrible Lie is amazing. Reptile is crushing, monolithic Terminator doom. It isn't all pummelling however. All Time Low has a cool '80s Bowie vibe whilst Sanctified is given a dark '80s pop makeover. Piggy also offers a slight respite although it's Lynchian feel is still intense.
The light show is amazing too, bludgeoning the visual senses just as the music is destroying the aural senses. The visuals accompanying Disappointed are incredible and elevate the electronic pop into something otherworldly.
There are so many high points during each set. Copy Of A Copy is a driving, pulsating floor filler. Gave Up suffers from a disjointed start but recovers to pulverize. Closer is awesome and moves directly into a snippet of Down In It. The industrialised electronica of Come Back Haunted is apocalyptic while the two stepping industrial metal mayhem of Wish slays. The Hand That Feeds is NIN at their most commercial and it's a real crowd pleaser. The crowd erupts for Head Like A Hole and it's pretty joyous watching thousands of people singing along in unison. A sparse and powerful Hurt, which closes the Manchester show, is devastating.
Both shows are excellent but Nottingham was probably the better show as they played a much heavier set which was both surprising and incredible.
Thursday, 10 July 2014
Bonfire - Fireworks
Bonfire - Fireworks
This 1987 album was the second full length from these veteran German rockers.
The opener, Ready 4 Reaction, is an uptempo Scorpions-esque rocker with a tasty Judas Priest style twin guitar attack, all lightened with keyboards and a catchy chorus. The keyboards are the main problem with this record as they really date the album. They make the 'Raise Your Fist...' era Alice Cooper meets Europe melodic rock of Never Mind cheesier than it should be. Sweet Obsession and Cold Days are catchy but have way too much AOR keyboards parping all over them, which is a shame because the Kane Roberts styled guitar work on these tracks is really good.
This record references a lot of quality '80s rock. Rock Me Now is a cracking, fist pumping tune, again reminiscent of 'Raise Your Fist...' while Sleeping All Alone is an excellent slice of '80s arena rock with a fantastic harmonised chorus. You Make Me Feel could almost be one of the Scorp's killer ballads. American Nights is super catchy hard rock which could have featured in any number of Brat Pack movies (this track makes me want to watch the Rob Lowe film, 'Youngblood'). Don't Get Me Wrong has a 'Headless Children' era WASP feel. The vocal similarities of vocalist Claus Lessmann and Blackie Lawless are most apparent here.
This is a solid album from a solid band but it has dated somewhat.
This 1987 album was the second full length from these veteran German rockers.
The opener, Ready 4 Reaction, is an uptempo Scorpions-esque rocker with a tasty Judas Priest style twin guitar attack, all lightened with keyboards and a catchy chorus. The keyboards are the main problem with this record as they really date the album. They make the 'Raise Your Fist...' era Alice Cooper meets Europe melodic rock of Never Mind cheesier than it should be. Sweet Obsession and Cold Days are catchy but have way too much AOR keyboards parping all over them, which is a shame because the Kane Roberts styled guitar work on these tracks is really good.
This record references a lot of quality '80s rock. Rock Me Now is a cracking, fist pumping tune, again reminiscent of 'Raise Your Fist...' while Sleeping All Alone is an excellent slice of '80s arena rock with a fantastic harmonised chorus. You Make Me Feel could almost be one of the Scorp's killer ballads. American Nights is super catchy hard rock which could have featured in any number of Brat Pack movies (this track makes me want to watch the Rob Lowe film, 'Youngblood'). Don't Get Me Wrong has a 'Headless Children' era WASP feel. The vocal similarities of vocalist Claus Lessmann and Blackie Lawless are most apparent here.
This is a solid album from a solid band but it has dated somewhat.
Friday, 4 July 2014
Various Artists - The Ourselves
Various Artists - The Ourselves
This takes me back. Back to the days when you relied on fanzines to discover bands and new releases. When you had to scour mail order lists and distros at shows to find that record you'd been searching ages for. When being a music fan required effort. I stocked this record on the distro I used to run, after reading about it and writing to the guy who put it out.
This is a live compilation from 1997, featuring largely metallic hardcore bands. Each band contributes a few songs each. The sound quality varies from band to band but generally is pretty raw.
Endeavor are heavy and chaotic whilst the vocals verge on unhinged at times. The strength of their songwriting shines through though, especially on the classic Kill Traitors. Coercion are chaotic and messy, and they are let down by the cookie monster vocals. The Converge tracks are as raw as they come but they are rippling with an energy rarely seen at their live shows (it's no secret that I don't rate them live). A Farewell Note To This City sounds much more Sabbathian than it does on record thanks to Jacob Bannon's Ozzy-esque wail. The sound for Fall Silent is poor and wafer thin, meaning that only Levi 's high pitched screams and a bassy wall of riffs remain. This derails the recording completely, which is a shame as I always liked that band. Coalesce's tracks are chaotic and rampaging but the sound quality is terrible. The sound for Disembodied is much better. In fact, it's the best quality sound here. The vocals are buried in the mix a little but all the other instruments can be clearly heard, meaning that their slower, chunky, evil sounding metal is very powerful. Still I Rise are stylistically different to all the other bands on the album. The rocking, female fronted emo of their first track, Dead Ends, reminds me a little of Month Of Birthdays. Really good. Their second track, Happy Endings, is jazzier and a little more experimental but isn't anywhere near as good.
This release is as DIY as it gets (the card cover for my copy is cut out of another album - a kids album featuring songs from the Wizard Of Oz from what I can make out). Despite its sonic failings, I like this. It reminds me of a time when music seemed so exciting. There were plans to put out a further volume. I'm not sure if they ever did but I would be keen to hear it if they did.
This takes me back. Back to the days when you relied on fanzines to discover bands and new releases. When you had to scour mail order lists and distros at shows to find that record you'd been searching ages for. When being a music fan required effort. I stocked this record on the distro I used to run, after reading about it and writing to the guy who put it out.
This is a live compilation from 1997, featuring largely metallic hardcore bands. Each band contributes a few songs each. The sound quality varies from band to band but generally is pretty raw.
Endeavor are heavy and chaotic whilst the vocals verge on unhinged at times. The strength of their songwriting shines through though, especially on the classic Kill Traitors. Coercion are chaotic and messy, and they are let down by the cookie monster vocals. The Converge tracks are as raw as they come but they are rippling with an energy rarely seen at their live shows (it's no secret that I don't rate them live). A Farewell Note To This City sounds much more Sabbathian than it does on record thanks to Jacob Bannon's Ozzy-esque wail. The sound for Fall Silent is poor and wafer thin, meaning that only Levi 's high pitched screams and a bassy wall of riffs remain. This derails the recording completely, which is a shame as I always liked that band. Coalesce's tracks are chaotic and rampaging but the sound quality is terrible. The sound for Disembodied is much better. In fact, it's the best quality sound here. The vocals are buried in the mix a little but all the other instruments can be clearly heard, meaning that their slower, chunky, evil sounding metal is very powerful. Still I Rise are stylistically different to all the other bands on the album. The rocking, female fronted emo of their first track, Dead Ends, reminds me a little of Month Of Birthdays. Really good. Their second track, Happy Endings, is jazzier and a little more experimental but isn't anywhere near as good.
This release is as DIY as it gets (the card cover for my copy is cut out of another album - a kids album featuring songs from the Wizard Of Oz from what I can make out). Despite its sonic failings, I like this. It reminds me of a time when music seemed so exciting. There were plans to put out a further volume. I'm not sure if they ever did but I would be keen to hear it if they did.
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