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 ****

Glenn Hughes & The Damn Truth - Academy 2, Manchester (29/10/23)

I was aware of Deep Purple from a very early age. My dad used to describe them as his favourite band. I personally would probably pick The Beach Boys as his favourite band, but it's what he used to say. 'Smoke On The Water' was one of the first songs I can ever remember hearing, and I used to play that and 'Black Night' (a song which my dad only yesterday described as probably their worst song) quite a lot when I was younger. He really only likes the Ian Gillan era though, whom he still refers to as 'The Voice'. Personally, I would only rate him as the third best singer Purple had though, as I'm a big fan of the Mk III and Mk IV eras of the band and the dual vocals of David Coverdale and Glenn Hughes. It was David Coverdale and Whitesnake which led me into this era as there was a period in the mid-noughties when Whitesnake would open their sets with 'Burn' and 'Stormbringer'. Tonight sees Glenn dive into the vaults as he brings his Deep Purple show to town.

As a result of me wanting to avoid the football traffic (it was the Manchester Derby today), I miss the majority of The Damn Truth's set. The singer, Lee-la Baum, has an extremely strong voice with a bluesy edge, not dissimilar to Beth Hart. Musically, they are bouncy rock and roll in the vein of Tyler Bryant & The Shakedown. The Sonics also come to mind, only heavier. The final song, 'Tomorrow', starts off with a riff which sounds like 'Sweet Child O Mine' but by the chorus it has turned into 80s Heart. Another impressive showing.

Just one minute into opener 'Stormbringer' and Glenn Hughes hits an incredible note to show that he's still got it. Guitarist Søren Andersen and keyboardist Bob Fridzema also get their time to shine on an impressive opening number, but this is Glenn's show and he sounds phenomenal. What a voice the man still has! 'Sail Away' has a heavy funk groove and is very good. 'You Fool No One' is driving hard rock with stabbing keys and overall great work from Bob. The keyboard and guitar solos are generally excellent throughout. 'You Fool No One' leads into 'High Ball Shooter' and then a drum solo, although the drum solo is fairly pedestrian. 'Mistreated' seems a little slower than on record but this just lends the track's heavy blues even more weight. It is awesome, and Glenn's voice is superb - powerful but with masterful control. Glenn mentions throughout that he considers himself the steward of this era of Deep Purple, and the songs are treated with appropriate respect. Bob does his best Jon Lord impression during an enjoyable 'Highway Star' although Glenn doesn't quite match Ian Gillan on this track. A red hot 'Burn' closes the show in a sizzling fashion.

Glenn Hughes ****

The Damn Truth ****

High Vis & The Rare Blood Group - Future Yard, Birkenhead (28/10/23)

The Rare Blood Group seem much tighter than the last time I saw them, earlier this year. 'Scream For Mercy' has a proper Wigan Casino feel. 'Breaking Away' is yet more uptempo Northern Soul with great backing vocals. Atko's voice is great throughout too. Elsewhere, they mine the early 70s commercial rock of Steely Dan. They aren't mere copyists though as they add a lot of their own character into the mix.

There is chaos from the moment from the moment High Vis step on stage. There are bodies flying everywhere as everyone wants to scream along to the melodic hardcore of '0151'. 'Walking Wires' has some neat New FADS style guitars but Graham's vocals firmly root it in punk. 'Talk For Hours' is intense for such an anthemic song. 'Altitude ' is pure mayhem, and I end  up pretty dazed as a stagediver lands squarely on my head. The downside of taking notes down the front is it makes it difficult to protect yourself from bodies from above. 'Fever Dream' is punked up baggy bliss, whilst 'Blending' comes on like a hardcore Northside and is excellent. The recorded output is great but it is in the live setting where High Vis excel, as everything has much more energy. 'Trauma Bonds' is everything. Joyous, traumatic, cathartic and emotional. 'Choose To Lose' is amazing and ends the set in an energetic fashion with stagedivers everywhere.

High Vis *****

The Rate Blood Group ****

 

Rodrigo Y Gabriela - Albert Hall, Manchester (19/10/23)

There is no support act tonight, which caused me ponder whether I had time to go to the Cult Of Luna show nearby and catch the support acts (Gggolddd and Slow Crush) before coming here. Had I been able to buy a ticket online beforehand, I would have but I didn't fancy the prospect of queuing up without a guarantee of getting in.

Rodrigo Y Gabriela have come a long way since I last saw them, when it was just the two of them and their guitars. These days they're accompanied by a thumping backing track. The downside of this is that you can't hear Gabriela's awesome percussive guitar playing like you used to. You can still see it though. The upbeat backing track does seem to make them more accessible though and their performance is stirring. A new track, 'Monster', has an almost industrial feel and highlights how they have moved more into the world of instrumental rock. Gabriela's tapping out of the beats whilst playing is still something to behold. Rodrigo's electric guitar does jar a little though, it doesn't seem to blend as well as when they both played acoustic guitars. The backing track of new song 'The Simurgh', with them playing gently over the top, reminds me of Ed Alleyne-Johnson. The sound seems quite muddy here and everything sounds like it's fighting against everything else, although Rod's slide guitar work on it is sublime. Gab's solo showcases every facet of what she can do and more importantly, you can hear every bit of it. It is amazing.

There is a scary moment where a man near me in the crowd collapses. The band respectfully pause until it is sorted out and thankfully, he appears to be ok. 

Regular set closer 'In Between Thoughts... A New World' sums them up in a nutshell. The electric and acoustic guitars seem to initially clash but once they both get into their stride, it is really enjoyable. They are still wizards of their instruments but I definitely preferred them when they were more flamenco style rather the Latin flavoured instrumental rock sphere which they occupy now.

Rodrigo Y Gabriela ****

Starbenders & ALEO - Satan's Hollow, Manchester (14/10/23)

ALEO are a two piece featuring a drummer and guitarist/vocalist. I can't really find any information about them online but it hardly matters, they are terrible. They sound like a garage band that should have stayed in the garage. They are a real mix of rock styles but none of them are good. The guitars are discordant and grungy with a punk edge but the vocals are completely different, putting them more in a nu metal territory. They sound like System Of A Down without the ambition or professionalism. The individual parts don't seem to transition well into the next ones. They sound like an amateur version of all the bands I hated in the 90s. The guitar tone has a nice Big Business style sound but the rest is an awful pop punk/nu metal style mash up.

Starbenders start off with a punkish rock and roll style verse which is reminiscent of Amyl And The Sniffers, and a glam stomping chorus. 'Holy Mother' is cool as you like, pop rock. Imagine if The Bangles had grown up on the Sunset Strip. 'BITCHES BE WITCHES' is like a dark, occult Bangles too. It's all very cool but that's the problem, it comes across more as aloof when it should be incendiary. 'Marianne' sounds like it could have been an 80s Billy Idol tune. Starbenders sound like a band that could have happily hung out with The Lost Boys, and their music wouldn't have sounded out of place on the soundtrack either. 'Cover Me' is seductive like prime Stevie Nicks, and features some excellent bass work, and a neat guitar solo. Things start to heat up a little during 'Body Talk'. 'Never Lie 2 Me' is beguiling, and showcases some rock and roll showmanship with some neat spins from singer/guitarist Kimi Shelter. Unfortunately though, despite the good (and the 80s vibe is something I love), tonight never really catches fire.

Starbenders ***

ALEO *