A Comedy Of Errors

It's been a rubbish week for live music. Everything that can go wrong has gone wrong, one way or another. Here's a quick rundown of why I haven't seen any live music in the last five days.

Thursday - Opinicus @ West Street Live


Fellow Sheffielders Opinicus put on a live gig at West Street Live. This is a good thing. It was a free gig. This was a very good thing. I went alone, and took my camera in case I got an opportunity to try out some shots with my fancy fast lens. All set for a reasonable night. Unfortunately the first support came on.

Necrogrinder. The name should tell it all, really. They were "extreme metal", which I've come to realise means "not very good metal". While the lead singer alternately screeched and belched into the microphone, the three guitarists hammered their instruments while apparently ignoring the fretboard entirely. I've no idea what the drummer was doing. But with their mercifully short (circa 20 second) songs at least they got rid of it quickly.

Sadly they decided to take their "extreme"ness to an, erm, extreme and went for deliberately and boringly tasteless song titles. Not that the titles had anything to do with the songs, all of which sounded the same and had no discernible lyrics.

Anyway, that went on a while and I decided that I couldn't sit through any more of that hoping that the good stuff would arrive. I was on my own so couldn't even chat to people while waiting. Very dull indeed.

Sunday - Volbeat @ Corporation


I was looking forward to this one. Having recently discovering them, and previously reviewing the album, I was in the mood for some relatively up tempo rock and roll metal. Sadly vocalist Michael Poulson is unwell and the band have been forced to cancel the entire first week of the UK tour. And to top it off, there were literally no other gigs in Sheffield that night except a folk supergroup at Plug. Rubbish. We went to see Skyline at the cinema instead. It was rubbish.

Monday - Vampire Weekend @ O2 Academy


Nothing technically wrong with this gig. In fact, I should be there as I write this post. But I'm not. Because for the last two days the city has been at a standstill due to snowfall, and we know for a fact that if we venture into town and the snow comes down, we ain't getting home again without a very long walk. So we're missing it, despite nary a flake to be seen.

Next March - Within Temptation @ Shepherd's Bush Empire Brixton Academy


We got the tickets early for this one. A two day trip to the capital for a night of music, fun and drink and a leisurely drive home the next day. Great idea. Thankfully we didn't book the nearby hotel because a couple of days after buying the tickets, the venue changed. Dodged that bullet.

Then we discover that not only has the venue changed, but so has the date. Onto the one day in November we simply cannot go. And to top if off, further dates in Manchester and Birmingham have been added. If they had been an option in the first place, would the original venue have sold out? Probably not.

The reason for the shift is genuine enough. Sharon den Adel is pregnant and can't be touring next March. Can't really argue with that. But the planning and communication of this entire tour has been a nightmare. Changing venues, moving dates, adding more venues after months of ticket sales ... it's just not helping the fans support the band.

And so there it is. In a mere five days I've managed to see no live music (I don't count Necrogrinder as music) and found that the big gig of 2011 is in question. Hopefully we can get tickets for the Manchester show.

Meh.

Disturbed - Asylum

Disturbed are not a band I've ever bothered with before. They're commercial, they're derivative and they are that most rash-inducing of genres, nu metal. Just the word "nu" is enough to make me laugh uncontrollably and shake my head in dismay. Ever since the heady days of Limp Bizkit, when nu metallers wore their sk8r boi chic and everything felt far too twee and ridiculous, I've had a lingering distaste for it all.

That all being said, I heard good things about the new album, Asylum. Dispensing with the nu metal sound, this was to be a heavy metal record. Loud, brash and bleak. I love me a bit of bleak. So bolstered by my possibly misguided confidence, I picked up a copy. And why not?

But I was surprised. It's actually pretty bloody good. No, it's not melodic. No, it's not subtle. No, it's not proggy or complex or any of the other things I look for in my metal. But what it is is simple, to the point, and catchy as hell. I defy even the most ardent of commercial nay-sayers to resist nodding a head to it.

I know many have said that it's just Disturbed doing their thing; competent but nothing groundbreaking. I know that many have panned the simplistic song structures, and still others have berated the "ooh look how angry I am!" vibe. This last point I can understand. Like many commercial metal bands, the front is too exaggerated to be realistic. Where I can easily believe that Mikael Akerfeldt or Tuomas Tuominen live and breathe metal, it's easy to think that Disturbed is just an act. A bravado, if you will. But let's not let that get in the way of the music just for the moment.

The songs on the album are all very bleak. Every one of them drawing inspiration from real events from lead singer David Draiman's life, although sometimes somewhat obtusely. From the Holocaust at one end, the pain of miscarriage in the middle, and the breakdown of a relationship at the other end, such is the breadth of bleak evident throughout.

In many ways the album seems emotionally confused. There are songs like The Infection, dealing with the quiet coping and the need to get out of a downward spiral. And then there are songs like Warrior or The Animal; losing control, giving in to it, and embracing the anger. It is reminiscent of a depressive's worldview. On the one hand introverted and hurting, and on the other hand driven, furious, absurdly confident.

There is a place for quiet, contemplative metal. There is a place for progressive, intricate and melodic metal. But sometimes the best therapy is to throw on something loud and heavy and thrash the shit out of it. That's where Aslyum comes in. And it fits the bill nicely.

Mostly Autumn's triumphant return

It's never easy for a band to replace their lead singer, and when that singer is as long-standing, popular and talented as Heather Findlay, it's just that bit harder. When Heather left earlier this year it cast a shadow of doubt over the future of the band. Fortunately backing-singer of 5 years Olivia Sparnenn stepped up to the plate and took over duties at live shows throughout 2010, all the while recording the band's new album.

I have been fortunate in recent years to have heard album tracks live before listening to the studio albums. In 2008 I attended the Glass Shadows launch tour, purchasing the album from the merch stand on the way in. And last weekend, we attended the first gig of the Go Well, Diamond Heart tour in Wath-upon-Dearne.

As is usual for Mostly Autumn gigs, there was no support. Instead, the band played a 2.5 hour set with half an hour break in the middle. Covering some classics from earlier in the band's career, and even throwing in one of Olivia's own songs, the set list was, of course, predominantly concerned with the new material.

Dressed in her trademark thigh-length boots and tiny dress (no hotpants this time), this was Olivia's first time playing the new material live, and she seemed a bit nervous. A few early sound issues caused problems, but by the end of the first half she had found her feet. After the short interval she returned to the stage confident and comfortable. This is a transition period for the band, but based on their "first night" performance, things are well in Mostly Autumn.

One of the wonderful things I have always found about Mostly Autumn songs is that, even after only hearing them once, they are familiar. Like I've always known them, but didn't realise it until now. Even after only listening to the songs during the gig and briefly glancing the liner notes, putting the album on was like revisiting an old friend I never knew I had.

I was very pleasantly surprised to find that, despite being a very different singer, Olivia is more than capable doing classic songs justice. Passengers and Evergreen, in particular, were familiar yet subtly different. And very enjoyable to hear.

The album title itself is clearly a nod toward Heather Findlay. A final farewell, if you will. Nostalgia abound, the first track is named for the band's first album, For All We Shared. Starting out with one of Mostly Autumn's signature instrumental intros, slowly building into a beautiful opening track. Both Olivia and Bryan sing on this one, and Olivia is certainly making the role her own.

There are several themes to the album, ranging from the deeply pessimistic [Something Better] to the melancholic [For All We Shared and Violet Skies] and the very optimistic [Go Well, Diamond Heart and And When The War Is Over...] War is central to many of the songs, specifically dealing with the futility and waste. Recycled a little, maybe, but very much consistent for Bryan's songs. Even cowboys and Caesar get a mention in Something Better. I don't think he's denying Hitler a sausage this time, though¹.

Go Well does seem to dispense further with  the folk sounds of previous albums. In fact, the band's entire direction seems to have changed from Prog Folk to pure Prog Rock. The lineup on stage consisted of guitars, bass, drums and keyboards. And of course a tambourine. But no flute, for example, to complete the folk line up. This isn't necessarily a bad thing, seeing as I am a fan of rock music, but I'm sure others are irked by it. Apparently Glass Shadows received some mediocre reviews, but I loved it.

So I suppose the big questions need answering. Can Olivia take Heather's place? Most definitely. In fact, I would question whether anybody else could even try. In both vocal talent and style she is a perfect fit. And can Mostly Autumn continue to thrive? Of course. This is a new era for the band, but also a continuation of trends evident in the last few albums. And they still put on a great show.

1. Knowing  Josh & Co reference. Listen to Through These Eyes to find out what I'm on about.

Lacuna Coil @ The Corporation, 28th September 2010

They said it would never happen. They said we were dreamers. But on September 28th, 2010, Lacuna Coil returned to the Corporation, their first visit since the heady days of 2006 when I first ever saw them live. Of course, we've seen them since. Back in January we hauled ourselves over to Manchester for the Shallow Life launch tour, but here they were playing our favourite local metal venue, next door to one of our favourite pubs. How could we possibly miss it?

Mark from Troika

Two support acts were playing that cold Tuesday night; Troika, a local band, and Slaves To Gravity, who were supporting the whole tour. I really enjoyed Troika's set. The band have a quirky amateur demeanour but the music is amazing. Really talented local bunch of Sheffield lads. I'll be checking their music out again in the future for sure. Possibly find a gig to go buy CDs direct from the band.

Slaves To Gravity were up next. They're not really my cup of tea, I'll be honest. Little bit too much grunge and posturing for my taste, but the crowd loved it. I love finding that a band I would never normally listen to put on a show that gets the crowd going. The atmosphere is what makes live music special.

Slaves To Gravity

After a wait that felt like an eternity, as it always does while waiting for Lacuna Coil to come on stage, the house lights dimmed. A hush descended, just for a moment, and the crowd went wild.

And what a show they put on! Starting out with Underdog and I'm Not Afraid from Shallow Life, this proved to be a very varied show with some delving into the band's back catalogue. Classics like Honeymoon Suite and Half Life made an appearance, as well as long standing favourites Swamped and Heaven's A Lie.

Karmacode stole most of the show, with eight of the eighteen tracks played from that album. Fragments Of Faith and Our Truth are a must, and of course, what would a Lacuna Coil show be without a sing-along to Enjoy The Silence? Shallow Life came in second, with six tracks including I Won't Tell You and Spellbound. The setlist was expertly put together, effectively mixing classics and recent fan favourites to keep the pace throughout the entire set and into the encore.

The Corporation once again shone as a live venue. While Manchester Academy 1 was an impressive venue, it lacked the intimacy of the Corporation. At the larger venue, you watch a show. At the Corp, you are part of it. I was very excited when I found out about the gig, and now I can safely say it's the best Lacuna Coil gig I've ever seen. Simply awesome.

Crystalic - Persistence

The music industry is a funny old beast. While your Justin Biebers and Lady Gagas are getting multi-million dollar/pound/groat deals (depending on locality), there are talented metal bands literally giving their albums away because they can't get a label to back them. Crystalic are one such band. After three years of trying, and failing, to get a decent deal from record execs, they'd done the only thing left; released Persistence, their aptly titled new album, for free via their website.

The band's lyrics deal with such topics as philosophy, society and the human condition. Pretty standard death metal fare, and fitting to the hard, heavy chug and the fast-paced, intricate riffs. The staccato blasts of the drum behind the driving rhythm of the guitars has an urgency that is infectious. Even the guitar noodling during the solos carries the mood. It makes your heart skip and your stomach tie itself in knots as you feel the energy of the music.

The album seems split in half, the first being a series of hard hitting death metal tracks to showcase the band's musical talent, and the second being a more commercial selection. Between the two halves is the album's only instrumental track, Eulogy. It's dedicated to the memory of Chuck Schuldiner, the father of death metal and founder of Death.

Every track on this album is great, but the stand-out tracks for me are Wall Of Sanity, Voiceless Army and Blastbeat Of My Heart. Blastbeat is an ear-worm of a track, and gets itself inside your head and stays there. That track alone has prompted me to play the entire album numerous times after subconsciously singing it to myself while walking around Tesco.

For fans of melodic or progressive death metal, this album is about as pure as it gets. And those who are not might as well have a listen. It's free, after all. Put your headphones on, crank up the volume, and get ready to detonate the blastbeat of your heart.

ʇɐǝqVol

My Volbeat CD arrived this morning! Been having a read through the lyrics and noticed quite a few recurring elements. Who is Mr Cadillac, for instance? Lots of angels turning into devils and the like too. And 16 Dollars, the track that sounds like Walk This Way, actually references Aerosmith and Walk This Way in the first verse. I'd completely missed that when listening to it. That proves that it's homage, rather than coincidence or plagiarism.

But the most mind-bending bit of the whole presentation is in the little book of lyrics itself. All the left hand pages are printed upside down. At first I thought there was something wrong with it, but no, it's supposed to be like that. It makes it very difficult to figure out whether to turn the page left or right when trying to read it, which I guess is the point. Interesting stuff.

Volbeat - Beyond Heaven/Above Hell

After hearing about Volbeat in September's issue of MetalHammer, I was quite excited to hear what rockabilly metal would sound like. Thankfully Spotify came to my rescue and let me listen to their older albums, and I liked it. A lot. Part rock 'n' roll, part metal, part blues and part country. Quite a mix, but brilliant.

Earlier this week I went back to Spotify and found that the new album, Beyond Heaven/Above Hell, was available for my listening pleasure. I ordered a copy on CD yesterday, but thanks to the magic of the internet this review is brought to you before it even hits the doormat.

The album starts as it means to go on with a stomping, thundering opener. The Mirror And The Ripper has a fast paced verse structure and the slow, heavy chorus will get the feet tapping and set the pace for what's to come.

A host of guest artists and influences make this album incredibly varied. Heaven Nor Hell, featuring Henrik Hall of Love Shop, channels Andrew WK's party anthemics. Jakod Oelund features on 16 Dollars and seems heavily influenced by Run-DMC/Aerosmith's Walk This Way. Mark "Barney" Greenway of Napalm Death features on Evelyn, and it's the only track on the album to include growls of any kind. It works really well, and somehow fits in with the rest of the sound without ever sounding forced or out of place. I was pleasantly surprised.

My favourite track of the album is 7 Shots. Featuring Mille Petrozza and Michael Denner, it bears more than a passing resemblance to Ghost Riders In The Sky. The country style intro and deep blues end to the first verse leading into a cracking rockabilly romp with a thudding bassline that is impossible not to dance to. It can make using a mouse difficult, though, so be wary if you're supposed to be doing something useful!

With so much rock 'n' roll influence, the album gets you in the mood for dancing all the way through, and this is no surprise. Volbeat's name is itself a portmanteau of Volume and Beat and epitomises both the musical style and its effect on the listener.

Luckily for me, I discovered via last.fm that Volbeat are playing Sheffield in November. Will definitely have to go to that.