Coheed and Cambria have always been a very interesting and difficult-to-pigeonhole proposition. But when you get down to it, they are essentially classic rock for hipsters. Their sound is slick, immaculately produced and eminently sing-alongable to. What elevates them, though from being yet another band with catchy choruses and melodic hooks is the intellect and concepts behind their material. Every track is part of a massive, multifaceted, fantastical tale.
Read MoreTonight, Manchester is metal city, but there is a distinct air of age demarcation going on. If you are under 35 then you are off to Co-op Live to witness Architects' ascension to greatness in Europe’s biggest arena. However, those of the disposition of being over 35 you are heading to the Academy for a stunningly retro celebration of a musical art form that is now well into its fifties. This iteration of Thrash of The Titans brings together all the distinct flavours of the flash in the pan movement that steadfastly refuses to die. We have new blood from South America in the shame of Nervosa, teutonic terror from Destruction, old school thrash/death hybrid from Obituary and a headline stint from a band that should be king, the almighty and still thoroughly underrated Testament.
Read MoreIt is now de rigueur to describe the early 90s UK metal scene as a bit of a desolate wasteland laid bare by the cataclysmic influence of grunge and American alt-rock. Whilst Seattle’s influence was far-reaching, in West Yorkshire, something quite incredible was forming. Whilst Paradise Lost and My Dying Bride (and Anathema over on Merseyside) were aware of each other, their brands of Gothic metal developed independently of each other. More a collection of bands with shared influences than a scene, it still proved that not every new act wanted to sound like they came from over the pond.
Read MoreThis evening is all about expectation. Blood Incantation blew everyone away last year with an album that challenged the very core of our music. “Absolutely Elsewhere” topped every end-of-year chart going (including our own), and the furore started to build about seeing these songs come to life in a live context. The size of venues on this tour is a massive step up for a band that has previously haunted the tiny but legendary Nambucca in London (now horribly gentrified). The expectation is both how the astonishing Tablet suite (that makes up the whole album) is reproduced in the flesh and also how Blood Incantation cope with their sudden, but well-deserved, transfer to the big league.
Read MoreProphetically, Refused’s 1998 third record “The Shape of Punk to Come”, has become the most important punk album since “Never the Bollocks” careered into our collective lives. However, at the time it was a commercial bomb and was scorned by the band’s ferment fanbase. It was so ill thought of, that the derision sent the band into a tailspin that they never recovered from. They partially limped through a traumatic American tour only to implode during an internal flight to Atlanta, Georgia. It was only after their demise that people started to see the astonishing depth of this unparalleled prog punk masterpiece.
Read MoreA euphoric crowd can make a show. The audience becomes the twelfth man, enhancing the performance and turbocharging the atmosphere. Tonight is one of those instances. It might be a Thursday night in that very Mancunian of seasons, second summer, but those in attendance are ready to party like it's 1999. It is a smorgasbord of goblin masks, pointed ears and party hats. Rather than become a cauldron of repulsive toxic masculinity, the pit this evening is a fabulous, inclusive maelstrom of energetic fun. There are Push-ups, rowing, and whale rides in this wild communal orgy of ridiculousness. The geniality and good-natured preposterousness is intoxicating and resonates far out across the venue, attaching everyone and every act to its gravitational pull.
Read MoreThere are albums that are born out of time. Records that are created in one era but steadfastly belong in another time period. Recordings that feel as if they have fallen through a hole in the space-time continuum. Earthtone9’s seminal third offering “Arc Tan Gent” is one such effort. Unveiled in 2000, it was birthed into a world where metal was back but was obsessed with “Nookie”, papercuts and smashing a baseball bat against a steel drum. “Arc Tan Gent” was slight, cerebral and highly intelligent. It married metal, prog and hardcore into an unholy trinity of sound that resonated righteous anger but was thoughtful about its disdain.
Read MoreGood things come to those who wait, or more literally, cacophonous, impenetrable noise comes to those who wait. Portal are a veritable enigma. The Australian noise mongers have existed in some form for over 30 years, yet visits to these shores have been few and very far between. The last time they were here (in fact, the only other time they've been here) was for the late lamented Temples festival in 2015. With some acts, this lack of physical contact would breed contempt or even apathy, but with Portal their absence has added to the mythology and expectation.
Read MoreWell, hats off to Unleash the Archers. Their one-off London show back in February was completely sold out, but instigated the usual online comments of "Why only London?” or “There is more to the UK than just the capital” or simply “Come North!”. Now most other bands would see these sorts of interactions as collateral damage and occupational hazards. But with Unleash the Archers, it struck a particularly empathetic chord. Hailing from the wastes of British Columbia, they were used to having to travel miles and miles to Vancouver or even over the Border into Seattle to see the bands that mattered to them. So, they listened to the impassioned pleas to come to Nottingham, Glasgow and Manchester, found three spare days in the middle of their European Festival trek, hired a cheap and cheerful van and headed North…
Read MoreThe Deftones have always existed in a rather interesting netherworld. They emerged during the reign of nu-metal, but they were always too experimental and cerebral to be fully integrated into that scene. The frankly extraordinary “White Pony” and the 2003 self-titled fourth album, thrust them into arena land and festival special guest status, but try as they might, subsequent releases never seemed able to push them any further. That is, until now. After looking like, they were cursed to always be the bridesmaid and never the bride at a total of four Download and one Sonisphere, this summer finally sees them headlining open-air shows in the country.
Read MoreThe fluidity of fame and fortune is incredibly fickle. We describe Iron Maiden’s late eighties period as “The biggest metal band on the planet”, as “Their Imperious Phase”. However, let’s be honest, they are more popular now than they ever were at their peak. Iron Maiden have transcended being a band and are now an institution, a cultural phenomenon. A national treasure with their own beer, stamps and merch that is sold in ASDA as part of its Father’s Day range. The Co-op arena is an inter-generational melting pot of different creeds, colours and cultural backgrounds. This selection box of diversity shares one uniting thread; they love Iron Maiden with a passion.
Read MoreThe prevailing wisdom is that when thrash emerged in the early 1980s, it was a unified entity. A unitary sub-genre with a singular sound and context. This fits the narrative of thrash as the rejuvenative power that transformed metal, but if we are honest is more myth than solid historical fact. The truth is that thrash was a broad term used to describe an emerging hodgepodge of styles that shared a belief that metal was becoming too bloated, comfortable, and mainstream. Some purveyors hitched themselves to the emerging hardcore punk scene whilst others mined the back catalogue of NWOBHM luminaries Diamond Head, Satan and Venom.
Read MoreWhen is an undercard not an undercard? When the supporting bill seems to receive as much, if not more, love and adoration as the main feature. Tonight in Manchester doesn't feel like a typical package tour with several make-do filler acts leading up to the central event. For all intents and purposes, it has the air of a triple headliner affair as Warbringer and Cryptopsy are treated with the same level of reverence as nominal stage closer Decapitated. This doesn’t mean the Polish legends get short shrift, it means that every one of them receives a reaction fit for a canopy-topping act.
Read MoreFittingly for Easter Sunday, Jesus has decided to make his long-anticipated return at tonight’s show. Gama Bomb vocalist, Philly Byrne, deadpans with surprise “Oh you're back, you should see what's being said about you and also what they are doing in your name and by the way after the show can we have a quick word about what's happening to kiddies in Ireland”. However, when “Jesus” gets on stage to dry-hump Philly during ‘Give Me Leather’ it becomes clear that he is a costumed imposter as opposed to the actual second coming. What it does show, though, is the sense of fun around this evening's proceedings. There is a general air of irreverence, as Sam from openers Raised by Owls eloquently puts it, metal is just angry panto.
Read MoreThe spoiler, that crucial bit of information that reveals the denouement and shatters the sense of surprise. Rosebud is the sledge, Darth Vader is Luke’s dad, and Bruce Willis is dead (for those who think the last one is cruel, I haven’t said in which film…). The curtain has just come down on the first show in Ghost’s imperialistic trek around the globe. No media were invited, no photographers were present, and everyone’s phones were locked away in rather nifty pouches. So how do we talk about it without giving away any of the surprises and preserving the intended air of mystery?
Read MoreThere is a cavalcade of young British metal bands determined to break out of the underground into the open waters of the mainstream overground. Heriot are at the vanguard of that movement. Fiercely independent and uncompromising, they have their eyes firmly set on world domination, as opposed to eternal select appeal. There are two impeccable and remarkable things about this roster of new acts reshaping our music, the first is that they are diligently doing things with metal that we never thought was possible. The second is that they have broken up the macho monopoly and defused metal’s decade’s old fortress of toxic masculinity. This is metal reinvented but also simultaneously holding on to the aggression and nonconformity made it so exciting in the first place.
Read MoreIt's debatable whether the demarcation of "big in the nineties" is a term of endearment or code for select appeal. What isn’t debatable is that when Skunk Anansie were big in the nineties they were distinctly out of kilter with the rest of the Brit rock fraternity. Part of it was their stereotype-trouncing frontwoman Skin, who single-handedly upended the pre-held perceptions of what skin colour and sexuality a rock front person should be, but a large chunk was due to their unique take on nineties rock. They simultaneously melded grating heaviness with a swaggering, funky sensibility. They produced in your face music that you could dance to, when everybody else was busy shouting “sorted” and tending to their egos.
Read MoreIt's easy to attribute The Darkness’s recent return to cultural relevance to appearances on the Michael Mcintyre show and viral Taylor Swift videos. However, this overnight resurrection is actually 14 years in the making. You see, the rehabilitation of Justin Hawkins and his erstwhile bandmates is the product of hard graft. Since their illustrious return in 2011, they have worked their collective socks off to not only avoid the nostalgia treadmill but also to reclaim the street cred they briefly held aloft in the mid-noughties. Relentless touring has paid off, and here they are at the tail end of a sold-out trek that has seen them reclaim the venues that they last haunted nearly twenty years ago. To top it all, they are promoting a new record that has collectively out-sold everything between it and “Permission to Land” (though as Justin testifies later, it won't be number one due to going up against Mumford and Sons). By the sheer power of never actually going away, The Darkness are back.
Read MoreThe wheels have come off The Wildhearts juggernaut so often that it is a wonder they are not sponsored by kwickfit. Ginger Wildheart is a self-proclaimed difficult man to work with, who has an undeniable knack of surrounding himself with difficult to work with people. The latest reunion of the classic line lasted 4 years, 1 pandemic and 2 rather spiffing albums, grinding to a halt in 2022 in flurry of mutual acrimony. Whilst lived experience has taught us to never count The Wildhearts out, this KO felt particularly final. So we were all really rather taken a aback when an all new version of the band arose from the ashes last year. Whilst Ginger is the one constant in this iteration of the band, it is a very different version of the Geordie workhouse. This is a happier, healthier Ginger who has shed both physical and emotional weight to look, god forbid, like he is actually enjoying himself.
Read MoreNever has a tour title been so fitting and accurate in its description. Aggressive progressive ‘25 brings together four of the scene leaders in pushing the envelope of death metal. Dååth, Beyond Creation, Cynic and nominal headliners Rivers of Nihil, in their own unique ways each retain that brutish aggression that gives Death Metal its potent uncompromising force, but each band splices it with a spellbindingly intricate slice of progressive opulence. Basically, this is victory parade for the innovators that have evolved Death Metal into the complex and undefinable beast that it is today.
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