The Unthanks & Katherine Priddy - Albert Hall, Manchester (20/12/23)

Katherine Priddy's opening number is traditional English folk in the vein of tonight's headliners or the songs covered on Anais Mitchell & Jefferson Hamer's 'Child Ballads'. Her voice is lovely, both delicate and dreamy, and the melodies are so calming that I could do with being prescribed them to help keep my blood pressure under control. 'The First House On The Left' is sparse and gentle. 'Letters From A Travelling Man' is more urgent, well as urgent as this style of folk gets anyway. I find myself reminded of Ralph McTell with some of the guitar playing. 'Eurydice' is sang in a slightly lower register and is more melancholic. It is still beautiful though. 'Does She Hold You Like I Did' is a bit more Americana influenced, and she manages to create quite a nice little groove with just a voice and guitar. Captivating.

I often think that The Unthanks' music reminds me of the darker seasons. There are the autumnal songs which sing of fading love and hope, and darker days to come. There are also the wintry songs which evoke images of bleak days and long lonely nights. Tonight, however, is a special show billed as 'The Unthanks In Winter' which will see them singing seasonal songs and carols.

The Unthank sisters enter the stage playing sleigh bells, and this heralds a dark, maudlin 'O Tannenbaum' ('O Christmas Tree'). The melancholy is provided by the violin and sax as the vocals provide small glimpses of hope. It's quite downbeat and bleak but it's very atmospheric, and when you add The Unthanks' distinctive vocals it conjures a certain magic, as demonstrated on 'Gower Wassail' (or should that be magick, as there is a pagan tone to a lot of these songs, even the religious ones). An instrumental 'The Holly And The Ivy' is surprisingly jaunty. By contrast, 'O Come All Ye Faithful' is gloomy and desolate. 'Carol Of The Birds' is chilling, whilst 'Carol Of The Beasts' is hypnotic and not dissimilar to The Swans (who I saw here earlier in the Summer), just not as loud.

Pianist Adrian McNally describes the show as two parts darkness to one part schmaltz. Unfortunately, 'Cherry Tree Carol' is way too schmaltzy for me. 'God Rest Ye Merry Gentlemen' is performed on the vibraphone and is spellbinding. 'The Snow It Melts The Soonest', sang solo by Rachel, is evocative and emotional. I found myself reminded of Nordic Giants' 'Through A Lens Darkly', which makes me think of 'The Last Breath', which in turn makes me cry. That film still haunts me. 'Leaping And Dancing' sees the traditional (for an Unthanks show) clog dancing. 'Nurse Emmanuelle' (sang to the tune of 'O Holy Night') is quite beautiful when all the voices join in. The acapella 'Tar Barrel In Dale' which closes the regular set is equally stunning.

The Unthanks ****

Katherine Priddy ****

Lanterns On The Lake & Sophie Jamieson - Band On The Wall, Manchester (5/12/23)

Sophie Jamieson plays singer-songwriter style material with a slight twist. Although it is just a voice and guitar, it isn't just gentle strumming, it's arpeggiated chords coupled with a haunting voice, not dissimilar to Anna Calvi. It is pretty downtempo but it is also quite moving. Sophie is extremely softly spoken in between songs which adds to her charm. Her voice has a timeless quality and Angel Olsen is probably another reference point. The whole experience is quite affecting.

Lanterns On The Lake are another act which mine the Angel Olsen style of indie pop. Hazel Wilde's voice is rich and evocative, whilst the material has enough hooks to be memorable. Additional instrumentation in the form of Angela Chan's violin adds an extra dimension. I'm not sure they need two drummers though. There's a hint of Hurray For The Riff Raff to them as well, although without the Americana influences. 'Every Atom' has some terrific guitar effects. When their sound gets more expansive, they sound like Mono with vocals (minus the crescendos of noise). New track 'Rich Girls' is a great balance of complexity and accessibility reminiscent of Radiohead. They are truly excellent in those more progressive moments. Hazel is also quietly spoken but she is charming and funny. 'Locust' is sweeping and epic, and is reminiscent of Angel Olsen at her most emotive. it does get quite post-rock at times but the vocals and choruses always make it accessible. Excellent.

Lanterns On The Lake ****

Sophie Jamieson ****

Blood Command & War Stripes - Deaf Institute, Manchester (3/12/23)

War Stripes start their set with shouty indie, although the instruments have a heavy grungy tone which makes them sound like The Libertines if they played through Royal Blood's amps. Their brash indie punk verges on Soft Play/Slaaves at times, especially if they were backed by Big Business. Their final track (which is introduced as being about Gary Lineker) has a 'Babylon's Burning' feel, mainly because of the bassline. This isn't the only old school punk reference as there are little hints of the Sex Pistols at times too. They also lead the crowd in a few chants of 'Fuck the Tories' a couple of times too. Not bad at all.

There is a pretty wide range of T-shirts in attendance, covering black metal (Immortal and Septic Flesh), more mainstream metal (Gojira, Jinjer and Anthrax) and punk (Capdown and The Casualties - yeah, that one's mine) which highlights Blood Command's wide ranging appeal.

The band explode onto the stage with high octane, riff heavy, anthemic punk reminiscent of fellow Norwegians Turbonegro, The Good The Bad And The Zugly and Ondt Blod. They get more metallic on occasions, even including some blackened blasting at times. The energy is infectious. They are remarkably accessible, even verging on Paramore style pop punk at times, just much ballsier. The riffs just incite non-stop jumping which reverberates through the floor enough to cause motion sickness. Frontwoman Nikki Brumen is a ball of energy, covering every inch of the stage. She is a magnetic presence who is difficult to take your eyes off, even when she's spitting on herself! The band exits the stage while the hardcore techno of 'Welcome To The Next Level Above Human' plays, and the party continues regardless. One quick costume change into different Adidas outfits and the self-proclaimed 'band with the three stripes' are back on stage raging. There is a hardcore edge to many of these songs and the vocals are reminiscent of Svalbard, particularly on 'A Villain's Monologue'. 'Forever Soldiers Of Esther' is a frantic thrashabout with an anthemic chorus. The final track of the regular set, 'Losing Faith', even has a touch of Eurovision as it is more of a guitar heavy 'City Lights' (Belgium's 2017 entry). Encore 'Ctrl + Art + Delete' even has a hip hop style groove. 'Cult Of The New Beat' rocks out in a Refused 'New Noise' style and closes the show in epic style.

Blood Command ****

War Stripes ***

Extreme & Living Colour - Academy, Manchester (30/11/23)

I first got into Living Colour in 1990 when I bought the 'Time's Up' album. I'm not even sure what prompted me to buy it. I don't remember seeing any videos by them. I don't recall any any stand out reviews. I don't even remember buying it. It just seemed like one day I didn't own it and the next day I did. The album is pretty eclectic and it took a little while for all the songs to grow on me. Sure, the thrashy title track and 'Information Overload', and the more straightforward rockers 'Pride' and 'Type', were favourites pretty quickly but it took longer for tracks like the calypso flavoured 'Solace Of You' to bury themselves into my consciousness.

The track 'Time's Up' has environmentally conscious lyrics. Around this time, I did a sociology project on environmental themes in the media and obviously I chose the medium of music. I copied out the lyrics to 'Time's Up' and also 'Greenhouse Effect' by Testament as part of the project. My friend Eddie found the handwritten lyrics to 'Greenhouse Effect' and asked if they were mine. I don't know what possessed me to lie but I did and I told him they were mine. He said he thought they were really good but said that the title should be 'Environmental Holocaust' instead. I think I kinda agree too. Testament missed a trick there!

Even though I've been a long time Living Colour fan, this is the first time I've seen them live.

They open with an energetic version of Led Zeppelin's 'Rock And Roll'. This is followed by the heavy rhythmic funk of 'Middle Man'. A pacy 'Type' sees Corey Glover's dreadlocks flying everywhere, and the rapid fire climax is great. A brief verse of Leonard Cohen's 'Hallelujah' shows how good Corey's voice is. This leads into an emotional 'Open Letter (To A Landlord)'. They're still all prodigious musicians, and Vernon Reid in particular hasn't missed a beat. 'Love Rears It's Ugly Head' is played loose and jazzy. A hip hop medley led by bassist Doug Wimbish, featuring 'White Lines (Don't Do It), 'Apache' and 'The Message', is great fun. A ridiculously good 'Cult Of Personality' closes an excellent set.

I don't really have an option not to be here tonight as my wife is a massive Extreme fan. Having seen them a number of times with her has softened my opinion towards them (which probably peaked with me wanting to lob piss at them prior to Donnington '94).

Extreme open with the high energy, hard rocking 'It ('s A Monster)'. Gary oddly looks like he's had an accident, in his headband and bizarre shades with an X on the lens. An excellent 'Decadence Dance' follows. It is clear from the first few numbers that Extreme are nowhere near as soft as people think they are. Sure, they're not Pantera, but then again we're thankful for that. Despite being a mid paced track, the Hendrix meets Beatles flavoured 'Rest In Peace' keeps the energy up. The vocal harmonies on 'Hip Today' are really impressive. A high octane 'We Will Rock You' leads into an amazing 'Play With Me'. The summery West Coast vibes of new track 'Other Side Of The Rainbow' adds a nice change of pace. The country stomp of 'Hole Hearted' is brilliant and really gets the crowd involved. 'Thicker Than Blood' has a heavy, grungy sound. Nuno's solo acoustic spot on 'Midnight Express' shows how unbelievably talented he is. 'More Than Words' sees everyone singing along and it is joyous. Things go from the sublime to the ridiculous, as a fantastically harmonised 'Fat Bottomed Girls' leads into 'Banshee' where Gary Cherone's vocals seem a bit flat on the verses. He was never the greatest of singers and time hasn't changed that but he is a great frontman. Nuno's 'Flight Of The Wounded Bumblebee' is where he really gets to show off, but then again I'd probably show off if I was that good. Flashy bastard! They end in the show in a suitably rocking fashion with arguably their strongest track, the new song 'Rise' which features THAT ludicrous solo. Another great reminder of what a solid rock band Extreme still are.

Extreme ****

Living Colour ****

Cavalera & Incite - Academy, Manchester (10/11/23)

I grew up supporting Oldham Athletic. The greatest day in our history was when we won the 2nd Division Championship in 1991. We had already won promotion, but to win the title we had to beat Sheffield Wednesday (who had also been promoted and were third in the table) and hope that the leaders West Ham lost to Notts County (who were fourth and also got promoted through the play offs). We were 2 - 0 down, before coming back to level the game and then Neil Redfearn scored a last minute penalty to seal the title. Glorious. Unfortunately I wasn't there to see it. I had given my season ticket up for that game so that I could go on a date with a girl I met at a party. She didn't show up. I found myself in the nearby town of Stockport (where we had arranged to meet), miserable because I had been stood up, with nothing to do. I decided to have a walk around the shops to kill time. I found a really cool record shop with a really good metal section so I started browsing the vinyl section to see if I could find something cool to make the journey worthwhile. I found the recently released Sepultura album 'Arise' which had been getting great reviews from the metal magazines. I pored over the monstrous Michael Whelan cover art of a hideous mutated beast with crab-like limbs and a prominent eyeball staring out beyond the record. I looked at it a number of times (that cover is hypnotic), debating whether I should take a chance on the record or not (I had seen the video for 'Inner Self' from the previous album but it hadn't really grabbed me). In the end I opted for something more tried and trusted and bought an Overkill album that I didn't have instead ('Taking Over', which is also a great album). It was a year or two later that I finally discovered the majesty of 'Arise' but I always associate this ritual humiliation with that album, mainly because of that striking album cover.

Tonight sees Max and Igor Cavalera bring their celebration of Sepultura's early days into town, playing 'Bestial Devastation' and 'Morbid Visions' in full.

Incite (who feature Max Cavalera's stepson Richie on vocals) open the show. They play heavy metal with a certain amount of groove, not dissimilar to latter day Machine Head. The guitar solos have a big Dimebag Darrell influence. They aren't as impactful when they play faster, which seems much more generic. Richie works hard to try and elicit a reaction from the crowd but it comes across as a little too tryhard. Hearing him roar 'fucking moooooove' gets rather tiresome after the tenth time. They do veer a little too close to Pantera on occasions for my liking too. Serviceable.

Cavalera's sound is a bit thin when they are blasting through the fast parts. This is a bit of a problem for opener ' Bestial Devastation' and the whole of that first Sepultura EP, although the chunky mid section of 'Antichrist' sounds great. 'Warriors Of Death' is where it finally starts to click. The thrash seems much more focused and powerful. 'Sexta Feira 13' follows and this highlights what an absolute powerhouse Igor still is behind the drumkit. Orff's 'O Fortuna' then plays to precede 'Morbid  Visions' and this is great music to build tension. The less primal 'Morbid Visions' material sounds better, and both the title track and 'Crucified' are good. The second half of 'Crucified', after a slow creepy interlude, is particularly savage. 'Empire Of The Damned' is pretty insistent, whilst 'Escape To The Void' is thunderous. A 'Chaos A.D.' medley is hit and miss, as 'Refuse/Resist' lacks its usual bite but the slower groove of 'Territory' hits hard. The band rip through a metallic cover of 'Protest And Survive' with Shane Embury on guitar and JJ from Discharge on vocals. They also fit in a cheeky cover of 'You Suffer' too. There are a number of good moments but, sadly, tonight never really catches fire.

Cavalera ***

Incite ***

Damnation Festival - Bowlers Exhibition Centre, Manchester (4/11/23)

A deluge of rain the previous night means that it is quite tricky accessing the road leading into Bowlers. A few people have tried to make makeshift bridges to try and ford the huge puddle which has formed but you're probably going to get your feet wet regardless. Once this obstacle has been overcome though, entering the venue itself is fairly seamless. In fact, most things seem to have improved this year, from getting into the venue, to the food stalls, to the sound in the main hall.

Dutch outfit Laster open the day on the Eyesore Merch stage. They play avant-garde, jazzy black metal in the style of Shining (the 'Blackjazz' one, not the Kvarforth one) meets Deathspell Omega. With the challenging rhythms and dynamics, they remind me of Botch or Liturgy live, just without the same level of intensity. The final song is what The Smiths would have sounded like as a black metal band, as the bass has a proper Andy Rourke feel. Really, really interesting.

Nordic Giants are already playing by the time I make it to the main stage. They play instrumental post-rock, and they are making full use of the massive screen at the back of the stage with an awesome animated film. I can only see the silhouettes of the keyboard player and drummer against the backdrop but with all the feathers they are wearing, they look like a pair of Liberaces. Musically, they are much more compelling though. The film backdrops are all brilliant, socio-political commentaries. There's an interesting piece about a lunar penal colony and the amazing animated 'Pencilhead' which references Studio Ghibli, Deadmaus (or it could have been the Radiohead mascot, or both), Tank Girl and The Wall. The centrepiece of the set is the film 'The Last Breath' which accompanies 'Through A Lens Darkly'. It is shocking and haunting, and it provides a real 'oh my god!' moment. The music matches it perfectly too. I see a lot of similarities between them and the jazz band Gogo Penguin (who I love) as they each combine virtuosity with a cinematic sensibility, only Nordic Giants do it with much more power. It is epic and stirring, and feels like an event. As if this isn't enough, after the band have finished playing, they show the second part of 'The Last Breath' which leaves the crowd stunned and devastated. The problem with something so overwhelming is that I don't really feel like watching any more music, I'm not in the right state of mind. This was a point at which I always planned to take a break anyway but it is now a necessity. I even toy with the idea of going home because, lets face it, I'm not going to see anything as good as this for the rest of the day (and possibly the year). Live music? Just completed it, mate.

After a well needed break to reset, I catch Khemmis on the main stage next and they are exactly what the doctor ordered. A no frills doomy take on trad metal similar to Spirit Adrift. The trad parts are pacy enough to get you banging your head and raising your fists, whilst the doom bits are suitably heavy and it is seamlessly mixed into a pleasing whole. The blackened backing vocals add an extra dimension too. There are some neat Iron Maiden style twin guitar parts as well. 'Hunted' is an ace mixture of Candlemass style classic doom and galloping black metal (minus the harsh vocals). The penultimate track is epic classic doom. The doom style definitely gets dialled up the longer they play, so that by the end it is the more dominant style.

The first thing which strikes me about High Command is how much more savage the vocals sound than on record. They're still tight as fuck thrash which covers everything from early Metallica to Power Trip. 'Siege Warfare' could have been on the first Metallica album, especially in a parallel universe where Jeff Hanneman and Kerry King stopped by the studio to add a few parts. It is fierce. 'Fortified By Bloodshed' sounds like a faster, heavier 'For Whom The Bell Tolls'. There is a lot of movement in the pit and everyone seems to be having a ball. 'Beyond The Wall Of Desolation' closes and has a real Power Trip feel when they start to surge through the fast parts. The definition of a crowd pleaser.

I had intended to watch Ohhms next, especially as it's their final show. However, I bumped into an old friend who I haven't seen since last year's Damnation so I spend quite a while catching up. As they'd have already been midway through their set, I decide to get a good spot for Julie Christmas instead. It was still quite sad looking across to the other stage and seeing the word 'END' on the big screen.

Julie Christmas' delicate voice is at odds with the sheer power provided by her band (which includes Johannes from Cult Of Luna). The bass is unreal, so powerful you can feel it in your chest. Delicate isn't all she does though. She can also sing powerfully and squeal, and go from beguiling to creepy to unhinged pretty quickly. The sound ranges from doom to noise to post-metal to more challenging art rock. All of it is moving and powerful, and the overall effect is hypnotic. The quirky vocal style is always going to draw comparisons to Bjork, but this is more what I imagined the fabled collaboration between Bjork and Carcass would have sounded like. One track even goes alternative lounge, evoking memories of David Lynch of even Mike Patton. Mesmerising.

Yes, Amenra are crushing. Yes, Amenra are intense. However, it just doesn't connect with me today. Maybe it's because some people in the crowd have really irritated me but for whatever reason, Amenra just don't resonate with me today. In fact, they leave me rather cold so halfway through I decide to cut my losses and try and get a good spot for Sigh.

I didn't watch Sigh yesterday when they played their 'Scorn Defeat' debut in full. I wasn't that interested because I don't really like their early material. The first time I ever heard them was on a Terrorizer compilation back in 1999. I think it was the track 'Internal Cries' from the 'Scenario IV: Dread Dreams' albums. I thought it was excellent, a great combination of controlled aggression, melody and eccentricity. I bought the album off the back of this but I was disappointed. I found the album to be patchy, disjointed and lacking in focus. However, I was drawn back in by the 'Hangman's Hymn' album which was an exhilarating mix of pacy black metal with orchestral touches and a good dose of craziness. They've been producing bangers ever since.

Sigh open with a flaming sword held aloft by guitarist Nozomu, and things only get crazier from hereon. Burning books. Hooded children. A flaming gauntlet of blood. We get it all. When Sigh are at their best, no-one can touch their fast, catchy black metal. 'Hail Horror Hail' has a rock accessibility, only much faster. The slower, more intricate material like 'Mayonaka No Kaii' doesn't have the same impact. The galloping climax of that song is great though. 'In A Drowse' is a treat, as it's fast, eccentric, batshit crazy and has Maiden-like riffs you can sing along to (and the crowd does). Tracks like 'The Soul Grave' are undeniable, and when you add all the theatrics it makes it very special. 'Me-Devil' is a fucking riot, whilst they end with a rousing version of Venom's 'Black Metal'. Fantastic.

Any fatigue I might have been feeling at this point is blown away by Rotten Sound's lightning fast grindcore. It's dynamic, completely without pretense and, dare I say, accessible. 'Corponation' is thunderous, whilst 'Sharing' features a frenetic performance from frontman Keijo. 'Slay' is slower, starting with a grinding riff before exploding into lightning fast grind. 'Digital Bliss' has a proper headbanging riff midway through. Incorporating elements of D Beat, hardcore punk and powerviolence into their grindcore sound, Rotten Sound are an invigorating breath of fresh air.

I am really flagging at this point so I figure that a bite to eat, a drink and a sit down will set me up for Anaal Nathrakh or Maybeshewill. Unfortunately, I struggle to find somewhere to sit and this proves to be a bit too much for me, as I have been on my feet for about ten hours without a break. I take a quick peek in the main hall at Enslaved and, although the huge runes onstage are impressive, the material from their debut isn't quite grabbing my attention like they did yesterday. I therefore decide to call it a day, again enticed by the prospect of a lift home. Another great Damnation. Maybe one year, I'll  even manage to stay to the end.

Rotten Sound ****

Sigh ****

Amenra ***

Julie Christmas ****

High Command ****

Khemmis ****

Nordic Giants *****

Laster ****

A Night Of Salvation - Bowlers Exhibition Centre, Manchester (2/11/23)

A Night Of Salvation is the traditional precursor to Damnation Festival, but this year they have gone BIG with lots of exclusive full album sets from well established bands.

The Sun's Journey Through The Night are the first band I catch on the Cult Never Dies stage. They play powerful black metal with an atmostpheric/experimental edge. Resplendent in a horned skull mask, the vocalist No One sounds great. There is probably a bit too much bass in the mix and not enough guitars for my liking but these are minor quibbles as they are still hugely impressive. There are some great melodic guitar leads in places whilst at other times they have a Rotting Christ style dark spirituality, all of which adds extra dimensions to their sound. They are more on the leftfield side of black metal but there is no less power or fury, as demonstrated on closing track 'The Black Pyramid'. An excellent start.

I'd already earmarked Viking Skull's slot on the main stage as the point at which I would grab a bite to eat and check out merch. However, looking at the stalls at the back of the main hall means I can still hear them and they sound much better than I thought. The Motorhead worship goes beyond just the musical style, but also matches the volume which that band used to crank out songs as it is ear-splittingly loud.

I intended to watch Ninkharsag next. However, on my way in to watch them, I bumped into someone I haven't seen for about five years and just ended up chatting instead. They are mid way through their set when I finally walk into the hall and, not really feeling it, I decide to go and watch Inhuman Nature on the Church Road Records stage instead.

Inhuman Nature's guitarist is wearing a Power Trip shirt and I can definitely see them as an influence, as they play the same kind of crossover thrash. They're pretty good at it too. There is also a Slayer influence too, particularly the singer, Christopher Barling, whose voice is pretty reminiscent of Tom Araya. The Slayer references are different to the studio recordings though. On record, they are very 'Show No Mercy' or 'Hell Awaits' whilst live, they are more 'South Of Heaven' and 'Seasons In The Abyss' influenced. One track even has a 'South Of Heaven' style intro or outro (I couldn't quite tell if it was the start of one song or the end of the previous song). The drumming doesn't seem quite right on the final song and the band aren't quite as tight as this style of music requires. They're still good though.

Bossk are the next exclusive album set, performing their 2016 album 'Audio Noir'. Moments of mathy uplifting post-rock are juxtaposed with moments of sheer heaviosity. They are certainly post-metal but they veer very close to doom at times. You can definitely see Isis and The Ocean as major influences but they are also surprisingly easy to headbang to. They have a real groove and really rock out at times. I don't remember them being like this, although the times I had seen them live well predated 'Audio Noir' as it was usually with an ex-girlfriend who was friends with the band. The guitars shimmer at times but most other times they crush. At one point towards the end of the set, I just put my notepad away and give in to the the blissful noise rather than writing notes, and there is usually no better compliment than that.

Din Of Celestial Birds are late additions to the bill, replacing Tuskar who had to pull out the previous day due to a family emergency. I had decided to go and watch The Internal Sea on the Cult Never Dies stage prior to the change, but the new additions made me change my mind and I decided to watch Din Of Celestial Birds instead. They follow on seamlessly from Bossk, being yet more post-rock. They are progressive with a good sense of dynamics. However, the heavier bits don't crush like I'd want them to. Although the songs build in an engaging fashion, they seem to be missing a payoff at times. The penultimate song is pretty satisfying though. It gets pretty heavy and even has the crowd punching the air at times.

I have seen Enslaved a number of times over the years and they are always great. However, because I have seen them a number of times, I took their sets this weekend a little for granted, especially as neither of the albums they were playing are particular favourites of mine. I therefore had planned this time (where they are playing 'Below The Lights') as a comfort break where I could get some food and drink and sit down. However, whilst browsing (and buying) patches at the back of the hall, I heard them start their set and realised how brilliant they are. I still got some food and a drink but rushed back in to the main hall, propped myself up on the bar and enjoyed my refreshments whilst taking in Enslaved's imaginative and inventive progressive icy blasting. 'Havenless' starts off with Norse chanting before disappearing into a dizzying blackened labyrinth. Unexpectedly breathtaking.

I opt for Heriot next and their brand of modern death-inspired metal. I'd probably put them in the same ballpark as Svalbard, only more deathly and straightforward. Their sound is pretty dense and relentless, and they are fairly slam and beatdown friendly too. I don't stay for all of their set as I just HAVE to get myself a good spot for Leprous playing their classic 'Coal' album in full.

When I think of 'Coal', I think of a rather humiliating preparation for an exploratory medical procedure many years ago. However, despite the embarrassing memories attached to this album, it is very dear to me. Quite simply one of the best albums of the last ten years, and I was so excited for this. A shame then that they are about ten minutes late in starting. However, as soon as they start 'Foe', all else is forgotten. It is fucking perfect. Einar's voice sounds unbelievable, whilst the rest of the band are note perfect. The sound is excellent and you can hear all the little acapella style noises which make up the memorable backing vocals. 'Chronic' is very energetic and the bass sounds amazing during the middle section with its pleasingly heavy tone. The climax is so hefty. I lose control of myself during the screamed section of 'Coal', rocking back and forth as I pull at my hair and scream along. I was going so mad, I felt like I was in danger of having a heart attack but this is music to totally invest yourself in, regardless of the consequences. 'The Cloak' is beautiful and emotional. It also features a stellar solo introduction by Einar. 'The Valley' mixes the sweetest harmonies and the catchiest chorus with head scratching timing. Imagine the pop sensibilities of the Bee Gees if they were mixed with Meshuggah. I normally decide on my star ratings during the set. All the way through this one, I was thinking 'I'd give this six stars if I could'. It is absolutely magical. 'Salt' and 'Echo' showcase their more prog side (I'd probably describe the rest of 'Coal' as post-black metal). From where I am stood, towards the front, I can see the Church Road stage, and the late start means I can see Deadguy starting before Leprous have even started their final track, the epic 'Contaminate Me'. Torn between the two, I decide to watch all of Leprous seeing as though I'm enjoying myself so much. 'Contaminate Me' is an absolute juggernaut, steamrollering all before it. An epic, once in a lifetime set.

As soon as they are finished, I run over to catch as much Deadguy as I can.

Deadguy are a band that I've loved since the mid 90s. They are synonymous with my early hardcore days, when I was still finding my feet. I had gone from the bands which I would read about in Kerrang! and were on majors or independent metal labels (such as Roadrunner or Century Media) to the larger hardcore labels such as Victory or New Age. I hadn't quite discovered Revelation Records at this time. Victory was mainly my label of choice. This started in early '95 when I went to watch Sick Of It All in Bradford. They were supported by Strife, and this show truly changed my life. Strife were incredible (as were the always great Sick Of It All) and this show marked the point at which I changed from being a metal kid who liked hardcore into a hardcore kid. This was also the point at which I first became aware of straightedge as there were loads of kids with X's drawn on their hands going crazy to Strife. I soon bought Strife's 'One Truth' album and it blew me away. Wanting to find more like this, I started checking out other bands on the Victory label, starting with Snapcase and Earth Crisis before diving into Integrity and the more metallic bands on the label, such as Deadguy, Bloodlet and Guilt.

Back in those days, you only heard stuff if you physically owned it yourself, or someone you knew had it. The record shops in Manchester weren't exactly hotbeds of hardcore so finding good stuff was a bit of an adventure. Cities like Birmingham or Liverpool had much better record shops but I only went there on rare occasions for shows. Distros were the best place to find records but unless you went to a good show where the distros were allowed to set up, this meant gambling with mail order (and Royal Mail). One of the best distros was Simba and for a while Vique Simba who ran it, lived in Manchester.

One Saturday, my friend Mark called me to say that he was going to Vique's to buy some records and wanted to know if I wanted to come too. This was the first time I'd heard of Deadguy and Mark (or maybe his brother, Gavin) bought 'Fixation On A Co-Worker'. I bought a Sparkmarker album, Mouthpiece's 'Face Tomorrow' EP and Integrity's 'Humanity Is The Devil' (all great, by the way). When he played it to me, I loved the twisted metallic grooves which satisfied my growing need for heavier and harder hardcore.

I have long championed the band. Back in the mid to late 90s, I wrote a hardcore fanzine called '5 Deadly Venoms'. It only lasted a couple of issues before it imploded. One of the articles I wrote was imploring metallers to give hardcore a chance, as there was the potential for crossover with some of the heavier metallic hardcore bands. I said in that article that 'if you like Pantera then you'll like Deadguy'. It sounds ludicrous now, looking back on it, but I can still see a bit of a similarity between 'Fixation' and some of the weirder stuff on 'Far Beyond Driven'. The inclusion of Deadguy this weekend kinda vindicates me, just twenty-five years too late!

Tonight sees Deadguy playing the 'Fixation On A Co-Worker' album in full and they are already midway through 'Die With Your Mask On' by the time I get to the stage. 'Baby Arm' is gnarly, twisted metallic hardcore not unlike a metallic Rollins Band. 'Makeshift Atomsmasher' is discordant and intense, yet still has plenty of groove. 'Riot Stairs' starts off slow and intense and then goes fucking crazy. The band are excellent but it is Tim Singer's vocals which impress the most and hold all of this craziness together. They haven't lost anything at all, still sounding as powerful and intense as they ever did. 'Fixation' isn't a particularly long album so there is still time for another couple of songs. I decide to take my chance and scream for 'Running With Scissors'. I'm normally loathe to shout for songs at gigs but figuring that I'll probably never see them again (clashes tomorrow mean I'll probably watch Sigh instead), I request probably my favourite Deadguy song. Tim hears me and the band oblige with a really tight version. This was everything I hoped it would be.

Katatonia are the final band tonight but I've had enough at this point, and the promise of a lift is too good to pass up. They are playing their 'Dead End Kings' album in full but this was probably the point where I started to lose interest in them anyway ('Tonight's Decision' is the peak for me).

A terrific start to the Damnation weekend.

Deadguy ****

Leprous *****

Heriot ****

Enslaved *****

Din Of Celestial Birds ***

Bossk ****

Inhuman Nature ****

The Sun's Journey Through The Night ****