Sunday, 23 November 2014

#364 Desaster - Divine Blasphemies

I spent a while pondering what to review today - there are so many metal bands out there; almost an infinity of them, it sometimes seems, but sometimes it still takes a long time to find something. As the year slowly cools down, I have a growing awareness that I need to start getting my finger-on-the-pulse of how 2014 has shaped-up as a year in metal as a whole - in short, doing some revision, so perhaps I should focus on albums which were released this year. While I do that, however, it needs to be reconciled with the other side of what this site has always been about; reviewing albums whenever they're from. I'm as happy to review something from 2002 as 2014, with little regard for circumstance other than feeling like reviewing it. After deliberation, I settled on doing the latter, by looking at "Divine Blasphemies" by Teutonic black-thrash band Desaster. Why?.. because I can.

Desaster are one of the most consistent - and consistently underrated - entities within black-thrash. Uncompromisingly old-school and familiar, but likewise having claim to an instantly recognisable and distinct style. Nobody really does what Desaster do, in quite the way Desaster do it. Indeed, I could have picked more or less any of their albums as a backdrop against which to air these thoughts. Divine Blasphemies, however, is one which I feel expresses their style well; a striding and confident mid-era work, with some very well pronounced moments of what the band do best. The music is destructive, with the malice and sharpness of the best 1980's extremity, bred with the influences of second-wave black metal woven into the tapestry here and there. The music manages to be very intense regardless of tempo and structure, particularly with the production which the band choose, with truly pounding, clattering percussion emphasising the rushing, vicious aspect of the music whilst simultaneously giving the guitars room to do their ripping, desiccating work. The musicianship in these aspects, in fact, is really what gives Desaster a unique edge, as both the guitar-work, drumming, and indeed vocals, themselves loaded with rage and scything delivery, possess a lot of character, never failing to stand out from the crowd of the band's peers.

The atmosphere you get in a Desaster album - as is well represented here - is a very distinct one, capturing what might seem, on paper, quite a "standard" one; conquering might, and devilish violence... but doing so in a very different way to convention. It does what you expect black-thrash to do, but in a very different and fresh way, compared to the tried-and-tested table of laws to which many bands abide. Desaster's sound is one of great scale, but without being polished - the rawness and frostbitten sound of second-wave black metal is represented in a much more tangible way than it is with many of their peers. It has the regal, almost magnificent sound, and elevates the listener, whilst still sounding extremely faithful to the more overtly oldschool influences bubbling away below the surface - it's tough and visceral, but oddly beautiful and sonically indulgent at the same time. It's a strange blend, to tell the truth, and that is very much one of the things which gives Desaster as a whole the sonic magic that it has. The band are exciting to listen to not just because of their consistency or uniqueness, but because they do something extremely well which very few bands - even if others have tried - could do well.

It's a nice change, I find, to review something a bit more established - something which I've had quite a long time to let simmer. I can really come to some conclusions about what I think of an album like this, free from the mystification of shiny, new 2014 records. Something like this, beyond being a great album in its own right, is also a great palette cleanser. Desaster are a band you can count on to provide solid album after solid album - this one is no exception. It might be hard to explain exactly what it is that makes Desaster so enjoyable, but it's certainly something they've always managed to have.

This record is an 8/10.

Desaster Official Site
Desaster on Facebook
Desaster on Metal-Archives

Monday, 17 November 2014

Live Review #014: "The Annihilation of Glasgow": Atlantean Kodex w/ Solstice and Dark Forest (UK)

It's been one heck of an autumn - one heck of a year, in fact, in terms of live-music. I've seen bands I never dreamed I'd see. I've seen bands I'd never heard of, bands I'd heard about endlessly, and everything in between. Bands I've listened to for years, and bands I'd never listened to before I saw them. The last thirty days, especially, have been a real treat - three shows which easily compete with each other for gig of the year; Manilla Road blew me away about a month ago, and while I didn't so much see Bolt Thrower as stand on tip-toes ineffectually and hear them instead, it was nonetheless a fantastic experience. Completing this glorious triumvirate of bands I half expected never-to-see was epic-doom outfit Solstice, and indeed their brethren in Atlantean Kodex. Solstice are literally the first doom band I ever discovered, as best I recall, and one which has inspired and kept me sane for many years. When "The Annihilation of Glasgow" was announced, I was immediately enthusiastic; 'Kodex alone are every bit worth the train-fare and the ticket, and the later addition of Solstice - not to mention rising UK traditional-metal act Dark Forest - easily sealed the deal. Since that point, I looked forward to the event as one looks forward to any show with "gig of the year" potential.

Shows like this are always something special. Glasgow is a fairly big city, granted, but not one you expect, necessarily, to see shows like this in. Atlantean Kodex, and the lineup in general - arguably one nearing thematic perfection - must have had one heck of a draw. Any show where I see a substantial number of people I've never seen before is promising. Ones to which people have flocked to from neighbouring countries is a step more impressive again. In a loose way, I suppose, 'Kodex, Solstice and Dark Forest amount to a contingent of something of a scene - at least as far as scenes exist in these post-internet days. Regardless, all three share an ear for earnest, stirring and epic heavy-and-or-doom metal. Just as importantly, however, the three bands share a collective fan-base. Most of the people present were interested in seeing all three bands play, and this created a fantastically enthusiastic, revelling atmosphere from the very beginning.

Dark Forest were first up, with a slightly shorter-than-expected set. What they lack in time, they more than make up for with quality, and by the second song, with the sound front-of-house shining-up a treat, they make their presence felt. The fastest band of the night in terms of tempo, they deliver memorable and extremely well-executed traditional metal with no compromises. It's radiant, glimmering goodness, delivered the old fashioned - in other words, correct - way. They look the way you'd expect a traditional metal band to look, and equally, sound that way, but without excessive toe-dipping into the ocean of the derivative. This band isn't made up of ne'er-do-wells who listen to nothing but Iron Maiden and sound only like them too. Not Dark Forest. This is a band made up of people who are clearly legitimately passionate about traditional metal as a whole, and Maiden' inspired as some of their sections clearly are, there's a far more diverse range of influences going into the cauldron to make this brew - a brew, as it happens, which makes for one hell of a live show. A superb warm-up comprised of earnest, extremely well-written and pleasing-to-the ear metal. Delicious. I hope I get to see them play a longer set eventually.

I buy some merch in the time before Solstice. A shirt from both them and Atlantean Kodex. Then I move to the front to make sure I'm well placed to catch the band - a band I will re-state, I have been hoping to see for years. Amid splendid guitar tone, they burst into their set with The Sleeping Tyrant, to audible roaring-of-glee on the crowds part - extremely well deserved praise on the part of the band. Solstice aren't perhaps the tightest band of the night - arguably, in fact, the least tight of the three, but not in such a way as to detract from their presence and sound one bit... and besides, they make up for it by being superb. A few classics from New Dark Age, both non-instrumental tracks from I am the Hunter, and "White Horse Hill" - a new one which the vocalist mentions, in rather self-aware fashion, will probably be out "in the next fifteen years or so". It's a damn good track too, and I eagerly - but patiently - await its arrival in studio-form. It's good. It's New Dark Age levels of good, in fact.

Interestingly, the band don't dip into "Lamentations" at all, and while I'd have loved to hear a few tracks from it, just about every Solstice track could well be my favourite, so I'm not going to be one to complain. Finally seeing the band live is another great moment in a year bursting at the seams with great live-music moments, and while their music is very introspective for me, it translates relatively well to the hubbub of a busy venue. As so often is the case with bands I've yearned to see for years, it's harder than I expected to get into "the zone" when it comes to listening to them in a live setting, particularly a band like Solstice, which has always been music I listen to alone; I find myself having a constant awareness of being in a crowded room, which transmogrifies the experience somewhat. I didn't quite transcend reality and glide skywards as I occasionally do whilst listening to the band's studio work, but I was nonetheless impressed - Every bit worthwhile. 

Finally, Atlantean Kodex are an exceptionally good live band - even better than I was expecting, in fact. The sound is solid from where I'm standing, and the musicianship extremely tight - the band must put in a heck-of-a-lot of practice... and if they don't, well, they're damn lucky. The atmosphere amongst the crowd is superb. It's been a while since I saw crowd,-members who were able to sing entire songs word for word, and that should say it all. The band themselves really know how to deliver a good show. The energy is there, and the songs have everything of their glory in the live-setting; all of the grandiose splendour and fantastic riffs. The vocals are extremely good, better than many vocalists ever get in terms of integrity and delivery in the live setting, and easily every bit as good as their rendition on the studio-albums. Tracks like "Sol Invictus" really showcase a cohesive band, and an audience brimming with surging enthusiasm, coming together to create something which is sort of magical.

The whole thing - all the bands - are extremely affirmative of my faith in metal. I had worried that I might find Solstice to be the pinnacle of my evening, and end up unenthusiastic about Atlantean Kodex, but I was mistaken; the band are truly absorbing and impressive, and beyond that, very much managed to hold my attention despite having to follow-up one of my favourite bands of all time. Any band who can play for an-hour-and-a-half whilst still being memorable, engaging and whilst meeting with riotous approval from the crowd are one deserving of respect. Atlantean Kodex live up to everything good I've heard about their shows - their future is, I hope, one filled with promise. Epic metal, I think it can safely be said, is very very safe in their hands.

Atlantean Kodex: Official Site | Facebook | Metal-Archives
Solstice: Bandcamp | Facebook | Metal-Archives
Dark Forest: Facebook | Metal-Archives

Monday, 3 November 2014

Live Review #013: Damnation Festival 2014: Bolt Thrower, Ahab, Saint Vitus et al.

I woke up tired, unreasonably early but necessarily on Saturday morning and slumped onto a train to Leeds. Later in that same session of being concious, I slumped off a different and opposite-directional train feeling even more tired on Sunday afternoon. At some point in between, I was at Damnation Festival, and between two caffeine dependant pieces of life-bread, the filling of this weekend sandwich was truly exquisite. Lured from my lofty northern castle of gratuitous metal elitism by the promise of Bolt Thrower - among other fantastic bands - I decided that I had reached the point in my life where going relatively far away from home to see bands had become very much worth-while. Conversely, it appears I have not yet reached a point in life where I'm sensible enough to get a hotel-room, as seven hours sitting in a railway station waiting for the first train home would go to show. Regardless, as I'm about to elucidate, it was very much worth it - in fact, one of the best things I've ever undertaken in the name of metal.

I've never faced the prospect of quite so many bands over quite so many stages before - especially as someone who hasn't done any multiple-day outdoor festivals at all. Regardless, looking at the line-up, there wasn't going to be too much loitering around. The timetabling was quite fortunate however; there were relatively few difficult-decision creating clashes, and none which involved missing bands I wanted to see but hadn't seen before. Of course, that's the thing with festivals - the occupational hazard, if you will, which can't really be avoided -  missing bands completely, missing the first songs by some, the last songs by others - it's a much more muddled experience than a normal show, especially considering it's also a good deal longer, and a lot of people end up a good deal less sober. Regardless, somehow my reserves of energy lasted all the way through the day.

I arrived early enough to wonder around aimlessly and work out where things were for a bit before the bands started... or at least, by that I mean I stood in various unexplored stretches of corridor announcing "where the fuck is this?" to nobody in particular. Eventually I blundered into people I knew, chatted for a while, and then, as the bands started, went down to see Amputated. As with the last time I saw them, the band deliver tight, enjoyable brutal-death metal with plenty of slams. As ever, extremely fun, and with some of the best slams in the UK, Party Cannon not withstanding. I'm not usually a brutal-death guy, but when it's live and in-the-flesh like this, it's extremely enjoyable. Considering it was 1pm, the enthusiasm and busyness on the part of the crowd - and the band too - was very positive, and one heck of an omen on how packed (albeit not, as some seemed to think, oppressively so) it was going to become. Amputated offered a very solid, professional and rigorously tight opening act, and managed to avoid the bad-sound which haphazardly preyed on bands throughout the evening.

I missed the last Amputated song to catch Bast on the smallest stage down even more stairs. I don't like leaving bands early, but at festivals it's usually a bit of a must. Regardless, Bast are one of the most interesting doom bands in the UK, levelling an absorbing, exciting and dynamic wave of crushing and memorable music at the assembled crowd. As a band, they traverse high tempos just as well as they do slow, with classic sounding doom-riffs mingling with atmospheric, almost avant-garde black-metal wizardry to create something which to my ear either hasn't - or has very seldom - been done before. Be sure to see them live if you can. When they were finished, I took a break for a while; got a drink, wondered around looking at merch and talking to people I know; essentially the usual stuff; I investigated Obsidian Kingdom but decided they weren't really my cup-of-tea after a while - and so I won't offer much in way of review.

The next band I saw were Leeds' very own Black Moth, who are above all things extremely fun, dispensing Sabbath-worship riffs and enjoyable vocal-patterns courtesy of their enthusiastic front-woman. They had a good-sized crowd, reasonably good sound, and are definitely a band I could see myself getting into - although I hadn't listened to more than a couple of their songs beforehand this time, which is always debilitating to my ability to say anything. The vocals could have done with a little bit of reverb to sweeten the deal, but beyond that, very positive - it's a shame, in fact, that I left early - and very prematurely, as it happened - to get to a different stage. 

Watching my countrymen in Falloch sound-check was an exercise in realising that I could still be seeing Black Moth. When they did begin their set, however, it was enjoyable enough; I'm not the biggest fan, especially of the vocals, but they certainly do some justice to their soaring post rock in the live setting. Atmospheric, well-delivered and tight, albeit as with Black Moth, the vocals lacked the reverb they needed. My final verdict before I left to catch Winterfylleth was one of some enjoyment, although I'd be lying to claim I was especially excited. I'm glad for them they drew a good crowd however, especially considering that I've seen them perform to about ten people in a room previously. 

I've even highlighted the bands I saw, quake mortals, at my generosity!

I arrived at the Terrorizer stage just before Winterfylleth began. They're a band I've heard many people praise live, and they weren't wrong. The whole set is a schooling in the excellence of tight execution; there's barely a hair out of place as track after track of grandiose and powerful black-metal. I've been listening to the band for a long time, and they every bit lived-up to my enthusiasm in the live setting. While I haven't listened to the new record yet, and thus didn't know a song or two, the band managed to faithfully recreate their formula live with all of its glory and vast-scale, even as a four-piece, and with only - and I forget - either a very minimal or totally non-existant backing track; an achievement indeed. Following Winterfylleth, I spent the next while socialising and communing with the spirits - namely J├Ągermeister. 

The next band I saw were A Forest of Stars. The first time I saw the band, in 2012 they stole the show - a truly fantastic and sublime performance, and quite a feat considering the headlining band was Wodensthrone, a favourite of mine at the time. By contrast, this time around was a bit of a sad affair. Not the band's fault at all - I considered and still consider them to be among the best bands out there. They performed a solid show... or... I expect they did, but I don't know, because couldn't hear them at all; the sound on the Eyesore Merch stage at this point seemed to have become so poor that A Forest of Stars - one of the most interesting and fantastic black-metal bands I've ever encountered - were sadly reduced to incoherent rumbling interspersed with soul-crushing feedback. Apparently the sound was a bit better at the front... but from where I was standing, all I could do was watch while one of the best bands in the building was mercilessly robbed of their time to shine. At least they're a band I know I can count on to return stronger than ever someday.

I leave the Eyesore Merch stage a little early to catch the beginning of Anaal Nathrakh. I've seen the band twice before, and while the latter of those times was relatively recent, I quite like to see a band often enough to compare and contrast their performances. This time around, I have to endure a few tracks from the new record... It's one I've heard mixed things about, but personally I'm not a fan. The backing track is so excessive and loud that I feel like I'm watching a miming act. Fortunately, this is scaled back a little by the time they play a selection of the classics. The last song I catch before heading upstairs is Between Shit and Piss We are Born - a personal favourite, and a fan favourite too. As ever, Dave Hunt has impeccable stage banter, and the band have a good stage presence, but this time around - as with the last time - they are a little underwhelming compared to my initial experience of them.

My reason for heading upstairs early is, fortunately, a good one. It's a certain little band called Saint Vitus. I've seen the before, and god damn it I'd happily see them ten times more. This evening, they're extremely energetic, and on exceptionally good form - the set is a true lesson in exactly what doom is all about. The songs are tight, with a fantastically thick guitar tone, truly giving a larger-than-life rendition of how they sound on Born Too Late - incidentally an album which they had set out to play all of. Wino delivers superbly good vocals, and both him and the rest of the band are possessed with an energy and enthusiasm which is truly inspiring. As expected, Dave Chandler delivers many an exuberant wah-laden solo, transporting everyone back to a time where electric-guitars were the coolest things on the planet... and let's not lie, that time endures to this day. After a few songs from other records, the band set out upon "the pink record", playing several tracks from it before (I can only assume) playing the title-track to rapturous applause. By that point, however, as much as I love Saint Vitus, I had moved back through the building to get to Ahab - it's a shame, but it had to be done.

I was truly filled with anticipation for Ahab. Ahab are a band which I only discovered a year or two ago, but one which has already had a massive, massive impact on me. Their mournful and crushing funeral doom have carried me through some difficult days in my life - or at least, as difficult as the days of a fairly lucky middle-class-in-denial university student can be. Live, their music is tight, and inspiring, and while the sound was too quiet for a few minutes, soon enough I'm swept away by their beautiful music. It's heavy, it's gorgeous, and it utterly lives up to the studio-albums. The clean vocals lament and soar, while the harsh vocals crush beneath the waves. The riffs are undulating and the lead work glimmering and fantastic, while the drums steadfastly keep time flawlessly. For me, Ahab may well be the band of the night, playing some of their best songs with incredible presence and talent. I've been lost at sea sometimes in my life - not literally, but metaphors are my spirit-animal - and sometimes the sound of Ahab's music coming across the waves and lifting me free from the raft of the Medusa has been what turned a foul day fair. They manage to draw a massive crowd despite clashing with Cannibal Corpse, and personally, I'd prefer them any day. They over-ran by about ten minutes, so, worried that I was missing Bolt Thrower, I scuttled-off quite quickly when Ahab's sprawling, fantastic set drew to a close.

The best part of a few thousand people were between me and Bolt Thrower when I arrived at the main stage. On the plus side, I'd managed to see all of Ahab without missing a second of Bolt Thrower, arriving on stage about five minutes before hostilities commenced. Their set included - indeed favoured - a lot of tracks from Those Once Loyal; The Killchain, Dead Armour and As Cannons Fade, to my recollection - possibly more. Conversely, I recall nothing from In Battle There is No Law, which was interesting - even a little unexpected, as I anticipated at least the title track. The band seem to favour the refined formula of their Warmaster-and-beyond years. This selection merges into being a little bit samey after a while. Not a bad samey however, let that be said. Some bands are a buffet, a smorgasbord. Bolt Thrower are a meal of one thing - but it's the best cooked, most delicious instance of that one thing you've ever, ever tasted.

Bolt Thrower more or less live up to their legendary status. As I remarked at the time, they didn't exactly glide onto the stage, levitating, with ancient and holy relics for instruments, but they certainly have one heck of a presence. A presence which I could just about appreciate from time to time given that I was behind people who are taller than me, and I can only manage tiptoes for so long at a time. The band shake the foundations of the building with their unique and crushing riff-style, intricate but devastating, with a guitar tone which sounds like the revving of an armour-division. They play several encores before calling it a night, playing more than they were billed to, and probably to most of the attendance of the entire festival... my sympathies - deepest sympathies - go to Fen, the only band with whom they clashed. Bolt Thrower utterly befit their legendary status, and over the course of an hour or so, proved it. They're only human... but they're humans who got damn good at playing death metal, and it was fantastic to see what almost appeared to be the entire underground gathered to witness it. It was, as I think Karl Willets said between songs, "a celebration of life through death metal".

Ultimately, I was drawn to Damnation first by Bolt Thrower - a band it is so rare to have the chance to witness, and I'm very glad to have seen. However, it was so much more than that too - a pleasure to see so many good bands, and a pleasure to see the UK metal scene out in force. The countless conversations with people I knew; long-term friends, acquaintances, people I've seen once or twice over the years, members of bands I've had the pleasure to share bills with in my band. It was one of the best and most tiring days of my life, and I'm eternally glad I decided to go.

In a World of Compromise... some sit for seven hours in the station waiting for the first train home. Whether hotels are a compromise or not is up for debate. For next year's sake, I hope not.

Bolt Thrower: Official Site | Metal-Archives
Ahab: Official Site | Facebook | Metal-Archives
Saint Vitus: Official Site | Facebook | Metal-Archives
Anaal Nathrakh: Facebook   | Metal-Archives
A Forest of Stars: Facebook  | Metal-Archives
Winterfylleth: Official Site | Facebook | Metal-Archives
Falloch: Official Site | Facebook | Metal-Archives
Black Moth: Facebook | Metal-Archives
Bast: Facebook | Metal-Archives 
Amputated: Facebook | Metal-Archives