Liturgy & Silverwingkiller - The White Hotel, Manchester (21/8/24)

Silverwingkiller start off with unaccompanied, delicate female vocals before strange electronics filter through, then BOOM. Like an atom bomb, it suddenly becomes incredibly loud and crushing, like Melt Banana gone grime. It just jumps from one style to another. When the drums kick in with a syncopated rhythm, they remind me of Shy Child. It then goes gabba hardcore. In places, there are eerie John Carpenter-esque horror electronics backed by tectonic shaking bass. There's 90s style Josh Wink techno mixed with J pop. There's Gary Numan style industrial pop meets shouty punk. There's sick Dead Prez style dubby beats. I'm reminded of early 90s Prodigy in a few places too. It's a crazy mix for sure but the beats are hard enough that it all kinda makes sense.

I discounted Liturgy as hipster black metal for quite some time, mainly because they were on the indie rock label, Thrill Jockey (even though Bobby Conn was on that label, and I love Bobby). When I finally listened to them, I realised how wrong I was. This was heavy, challenging and avante garde.

Haela Hunt-Hendrix opens the set with spiritual vocal acrobatics and she sounds in good voice. This is looped and layered to create an eerie yet hypnotic choir which becomes more anguished. They blast into waves and waves of noise which is like an amalgam of black metal, noise and math rock - black math anyone? It's both dizzying and exhilarating. There are tons of riffs and time changes. The band have incredible technique yet it isn't about the notes they play, it's more about the overall effect. It's a cacophony which ebbs and flows like the tide and the overall effect is like you're drowning in a sea of noise. 'Hajj' has a bulldozing, hypnotic power. All the songs are lengthy but nothing overstays its welcome and the whole set seems to be over in a flash.

Liturgy ****

Silverwingkiller ****

Spiritual Cramp & Bruise Control - Star & Garter, Manchester (20/8/24)

Bruise Control play fast, yobbish punk rock. They have some meaty riffs and catchy choruses which bring Randy to mind. 'No More' is blistering anthemic punk which has a pretty simplistic climax reminiscent of Minor Threat's cover of 'Steppin' Stone'. I find myself reminded of modern acts like Chubby & The Gang quite often. They have plenty of energy, particularly the singer, who is absolutely everywhere. They definitely have more melody than you'd think. I was also thinking that they had a Black Sabbath influence in places (which I suppose also puts them in Black Flag territory) when they bust out a chaotic yet great version of 'Paranoid'. A band I'd definitely check out again.

Spiritual Cramp blast right out of the gate with a powerful 'Blowback'. It breaks down in the middle as the guitarist initially refuses to play the guitar solo. The singer Michael Bingham asks the crowd 'you love that shit, right?' before Jacob relents and plays a brief, blazing solo. It's obviously pre-planned but it is fun and gives them a bit of character. They are from a hardcore background but play music which is a hybrid of punk, college rock, new wave and post-punk. Like similarly placed bands such as High Vis or Angel Du$t, they are much more punk live. 'Talking On The Internet' is super catchy yet has some balls too. 'Herberts On Holiday' is college rock yet it still has an indefinable something that still marks it out as punk. 'Slick Rick' is as catchy as it is on record but it just exudes energy and has a much rougher edge. 'City On Fire' has a throbbing, insistent bassline and a early Cure influence. 'I Feel Bad Bein' Me' sounds like a souped up version of 'London's Calling' fronted by David Byrne. The band lean into The Clash influence by playing 'London's Calling' as an intro. 'Better Off This Way' sums them up perfectly with its seamless blending of all their influences. Everything they play seems much more vibrant and has much more energy than the studio recordings. A great show.

Spiritual Cramp ****

Bruise Control ****

Author & Punisher, KEN Mode & El Moono - The Bread Shed, Manchester (14/8/24)

El Moono. The name screams stoner rock, and on record there are certainly stoner elements, but live they are more grunge or noise rock like Nirvana meets Jesus Lizard, backed with some Melvins style heft. They are deceptively heavy. Zac Jackson's vocals remind me a little of Brian Molko in the clean vocals but his stage persona is more Kurt Cobain (his dress is something I could have seen Kurt wearing) meets Jonathan Davies. They also have a post-hardcore groove in a few places. Decent.

KEN Mode are a band that I've always thought I should like but I never quite got them. I read about them in Terrorizer over ten years ago and their brand of noisecore sounded like it would be right up my street. However, whenever I listened to them, they never quite connected with me. However, we ended up doing the same dance over and over. They would release a new album or tour every couple of years and I would give them another chance, and still nothing. Until now. Over the last six months, they have started to resonate with me and I'm now rather looking forward to seeing them.

Their discordant noisecore is full of off kilter riffs, odd time changes, squawking saxophone and screamed vocals. It takes a couple of minutes to lock into what they are doing but when I do, it becomes punishing and relentless. The whole vibe is Unsane meets Dillinger Escape Plan. It's chaotic but laser focused in its bulldozing intent. The tribal closing number is intense.

Author & Punisher open in an atmospheric fashion similar to 'Pretty Hate Machine' era Nine Inch Nails. It's a slower burning start than I expected but the beats then become harder. Tristan Shone's custom built set up is impressive and gives true meaning to the term 'industrial'. The beats sound like hammers busy at work in a forge. There is more space than I expected between the beats and this allows the electronics to paint their own bleak industrial landscape. There is arguably too much space. The beats, although hard and heavy, are too slow and this means it get a bit boring in places, as evidenced by their cover of Portishead's 'Glory Box'. I expected the set to be crushing and claustrophobic but it isn't. I certainly expected it to be heavier and it kinda feels like they're holding back. There's more subtlety here than I thought there would be but I don't want subtlety. I want it to be in my fucking face. I want to be pummelled. Disappointing.

Author & Punisher ***

KEN Mode ****

El Moono ***

Hexvessel, Iress, Reliquia & In Crooked Wonderment - Rebellion, Manchester (13/8/24)

In Crooked Wonderment have an interesting look which is one part Mumford & Son, one part Venetian Carnivale and one part Droog. Musically, they're just as confusing. It starts off as acoustic folk which then becomes more alt rock like Placebo. The folk part is pretty nice but the alt rock is quite clunky. They describe themselves as gothic folk rock which is fairly accurate. A cover of a track from 'The Witcher' TV show is pretty good. They also play a cover of a Poor Man's Poison track and this closes the set but is again a little ungainly. They are definitely better when they lean into the folkier elements of their sound.

Reliquia start off as gothic rock in the vein of Sisters Of Mercy or maybe She Wants Revenge.The vocals are suitably gloomy but I don't rate the drumming too much. It sounds like there are some missed beats here and there. The second track has a Grave Pleasures feel which then switches to a screamed, blackened chorus. 'Temple Curse' is slower and more atmospheric, like 80s goth rock meets Type O Negative, again with a blackened chorus. Much of the set sounds like it could have been in The Lost Boys, which is a compliment.

Iress are hypnotic doom with bewitching vocals. It's music to just close your eyes to and let it take you on a journey. Singer Michelle Malley has a terrific voice, which brings to mind the likes of Chelsea Wolfe and AA Williams. However, there is also a classic rock sensibility there, and real power too, which reminds me of Grace Slick as well. The music is heavy but not claustrophobically so. It also has a beauty and elegance which reminds me of Messa. Very impressive.

It's been almost ten years since I saw Hexvessel live. They sound a little different to how they were then, as they seem to have leaned more into the black metal influences which now positions them as blackened, doomy neofolk. Matt McNerny's vocals are rich, evocative and full of character. The vocals definitely shape their sound, as without them they would be a lot more derivative. 'The Tundra Is Awake' is powerful and hypnotic, whilst 'Listen To The River' is doomy and ominous. The galloping 'Eternal Meadow' is a little like a blackened Iron Maiden but then again, it sounds only like Hexvessel. The swirling, psychedelic 'Phaedra' is excellent. 'Older Than The Gods' ancient sounding spiritual chanting during the intro is captivating, whilst the main body of the track is mesmeric. 'Homeward Polar Spirit' is blasting, icy black metal with a '70s rock chorus. Matt's voice at the climax sounds incredible. The closing 'A Cabin In Montana' is spellbinding, whilst the woozy, grinding guitars during the chorus are striking. Still excellent.

Hexvessel ****

Iress ****

Reliquia ****

In Crooked Wonderment ***

Terrorizer, Damim & Acid Vat - Rebellion, Manchester (12/8/24)

Acid Vat open up the show with some old school death metal in the vein of Deicide, as evidenced by the likes of 'Barbecue Death'. One song has a slow, doomy riff reminiscent of Morbid Angel's 'Where The Slime Live'. They have plenty of catchy riffs, along with decent solos and some satisfying double kick drum work. Not bad at all.

Damim are next and they play progressive thrash which is fast, dense and technical but it just leaves me cold. The bass seems way too loud but it at least highlights that the bassist is pretty good. In fact, all the band can play, it just comes across as workmanlike and uninspired. The vocals and playing are pretty aggressive but probably fall short of death metal, although they do incorporate some death elements. Some of the bass playing reminds me of Atheist, and I suppose a less extreme Atheist isn't a bad comparison. They improve slightly as the set goes on and I even find myself nodding along towards the end. The final song reminds me of 'Time' by Anthrax, only not as incise or urgent.

Terrorizer open with the rampaging 'Hordes Of Zombies' although I'm left wanting more. I expected it to be devastating as the studio version crushes but it is somewhat lacking. What we really want though is 'World Downfall', especially as it is 35 years since this seminal album was released. Thankfully, that's exactly what we get, 'World Downfall' in full. 'After World Obliteration' absolutely rips, whilst 'Storm Of Stress' is pulverising. A stomping 'Fear Of Napalm' straddles both death metal and grindcore, which is why 'Wold Downfall' was such a landmark release, and it still sounds fresh. 'Human Prey' is vicious, and Pete Sandoval pounds the shit out of his drumkit. Fellow Morbid Angel-er David Vincent does a solid job on bass but, surprisingly, he is content to remain in the background. It is the singer Brian Werner who takes centre stage instead. 'Enslaved By Propaganda' rides a bouncy yet brutal riff, whilst 'Whirlwind Struggle' is a hurricane, like the title implies. 'Dead Shall Rise' is pure, ripping old school death metal. The whole set is a blur and I'm left thinking that they don't really have any right to be as good as they are.

However, as a post-script, in the days following the show I read comments from friends on Facebook about the tour and the line up. I'll be honest, I don't really know anything about Brian Werner (Vital Remains are a band that have passed me by) but having a full on Trump supporter singing songs like 'Corporation Pull-In' is a little weird. Still, the review is a reflection of how I felt on the night.

Terrorizer ****

Damim **

Acid Vat ***

High Vis & Step Beyond - Lost Art, Liverpool (11/8/24)

Tonight is a special show in a skate shop, scheduled just before High Vis embark on a tour of Australia.

The shop has a big glass storefront window and the bands are set up just inside it, meaning that you can easily watch the bands from outside. I hear the first band but I'm not really paying any attention. I'm concentrating more as Step Beyond take to the stage, and I watch them from outside. They play hard edged old school hardcore with a Floorpunch influence. It sounds pretty dynamic from where I'm standing and I'd be interested in watching them again.

High Vis open the set with '0151' and it sparks mayhem right away with everyone piling on top of each other to sing along with Graham. Maybe it's because they're playing a venue much smaller than they've played in quite a while but there is a palpable energy running through their performance. 'Walking Wires' still has a baggy feel, but a punk potency runs through that and everything they do. 'Talk For Hours' is a glorious singalong. 'Altitude' is blistering and the chorus sees people going crazy. Even standing on the sidelines, I find myself being slammed into the wall a few times. 'Mob DLA' slows it down a touch but still has a groove that people can get down to.  Graham is putting everything into his performance, and this helps to ensure that 'Trauma Bonds' is as emotionally charged as ever. 'Choose To Lose' has the same effect as lobbing a molotov cocktail into the place, as it is incendiary. It is also a very fitting end to probably the most visceral performance I've seen by the band.

High Vis *****

Step Beyond ****

Radar Festival - Victoria Warehouse, Manchester (28/7/24)

The third day of Radar Festival, and there are fewer bands I want to see today but I basically bought my ticket today for just two bands, Leprous and Blood Command.

I arrive just in time for The Omnific on the main stage. A tape of the ridiculous a cappella intro to 'Omnific = Bass' plays before the band launch into the actual track. The double bass attack is impressive, and I don't mean a drum pedal or a classical instrument, they actually have two bass guitars! Their level of musicianship is amazing, of course it is. However, it is stopped from being boring by the two instruments doing different things. One does the progressive djent wizardry whilst the other provides a punishing heavy backbone and the instruments trade with each other for the foreground. The sound is typical progressive djent but maybe it's the novelty of two basses and no guitar or maybe it's because they're really fucking good at what they do but there's something wildly original and entertaining about them. My jaw doesn't often drop when watching bassists (Billy Sheehan aside, maybe) but the one who plays the more progressive stuff is amazing. 'Base Camp' has a much mellower vibe and is gorgeous. 'Objets de Vertu' has a hefty bottom end mixed with some amazing melodic leads. Every song seems more impressive than the last. Imagine a world where Metallica discarded the thrash and all their big hits sounded like '(Anesthesia) Pulling Teeth'. Well, The Omnific rule that world.

Future Static are modern metal or even, dare I say, metalcore, even though I hate that term. They have a mixture of rocking clean sung parts and heavier breakdowns. This isn't normally a style which I enjoy but they are pretty good at it. Singer Amariah Cook has a great voice and exudes great deal of charisma. The backing vocals are strong too. The bassist Kira Neil probably has a stronger voice, if I'm being honest. The beatdown parts are satisfyingly meaty, and I normally find these tiresome. They play a cover but I'm old and have no idea what it is (and only found out by checking Setlist FM afterwards that it's a Daddy Yankee cover, whoever that is). Everything is bouncy and uplifting, and the crowd just eat it up. The driving 'Roach Queen' is powerful with a Paramore style arena rock chorus. They're probably going to be massive.

You can't play jazz before a festival crowd as Spinal Tap's David St. Hubbins once sort of said. Sungazer clearly haven't listened as they play a set of jazz fusion. This may seem an odd fit for the festival but the deep, heavy bass tone and dextrous playing isn't a million miles away from what The Omnific were doing earlier today. Being a fan of jazz, I should love this but it just falls a little flat for me. It sits somewhere between smooth jazz and heavy prog. Is smooth djent a thing? I guess it is now. The choreographed dancing and costumes mark it out as a bit gimmicky, and 'Macchina's cod reggae is a step to far for me and is my cue to leave.

Blood Command's brand of energetic metallic punk is as infectious as ever and Nikki Brumen is her usual charismatic self. Playing as a four piece, their sound has lost none of its potency. It's great seeing guitarist Yngve decked out in his trademark Adidas gear, stomping round the stage with the same energy as Bez in 1990. One moment they're ultra catchy punk pop, the next they're riffing like the Norwegian second wave of black metal. This hybrid of styles brings compatriots Kvelertak to mind. 'Bare Witness' thrashes like a maniac. The dance interlude allows for a sparkly costume change before it's back to business. Closer 'Cult Of The New Beat' has a 'New Noise' vibe and ends another terrific set from one of the best live bands around.

Humanity's Last Breath don't really do it for me on record but they sound good enough from the outside to draw me in to watch them on the second stage. Their Meshuggah style metal is heavy, precise and brutal, and is much more impressive than it is on the studio recordings. One track is bouncy as hell and sounds like 'Bleed' lite (not a terrible thing as that track is incredible, and it certainly isn't meant as a diss). It certainly gets the crowd moving as all I can see is bodies bouncing in front of me. A pleasant surprise.

Leprous' headline set is promised to be a live fan request set. They start off delicately as the instruments come in one by one for the elegant 'Have You Ever?'. They then surprise me by bursting into 'The Price' ridiculously early in the set, and it sounds amazing. We're then given a choice of four songs and whichever gets the most hands will be played (but as the set goes on, it tends to be the songs with the loudest reaction being chosen). The first choice is a toughie as we are offered 'Illuminate' and 'Third Law' which would both be high on my list of tunes to hear. They play my choice 'The Valley' with it's shifting polyrhythms and world class chorus. It's unbelievably good. 'Castaway' Angels' is the next crowd choice with Einar's voice soaring on the the more delicate prog ballad. 'The Flood' is the next choice, beating out 'The Cloak' (booooooo!) among others. It's ominous pulse is countered by a soaring chorus. New single 'Atonement' harks back to the 'Coal' and 'The Congregation' eras, being satisfyingly heavy with some stabbing keys adding drama. The irresistable power ballad 'Alleviate' is the next crowd choice, and this is followed by the rousing 'From The Flame'. 'Mirage' is next audience choice, with its dynamic chorus. 'Slave' is very loud, almost reaching Sunn0))) levels of volume. 'Contaminate Me' is the surprising crowd choice for set closer, beating regular set closer 'The Sky Is Red', and it absolutely crushes. An interesting set from a classy band.

Leprous ****

Humanity's Last Breath ****

Blood Command ****

Sungazer **

Future Static ****

The Omnific *****