GIG REVIEW: Beast in Black | The Garage, Glasgow – SOLD OUT

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Bands: Firewind, Beast In Black

After capturing new fans and followers (such as my brother) with their catchy retro-metal style and in the support slot for Gloryhammer back in 2019 (here). The Finnish power metallers in Beast In Black have made such an impression and lasting impact as to almost eclipse their roots and origins. Forever linked with Battlebeast this band seems to have grown an obsessed fanbase and become much more than the sum of their parts as they continue to rise upward in the ranks of pure metal. This show and UK tour will undoubtedly raise them further as I return to Glasgows’ The Garage for another night of glory and metal.

Seemly adverse to displaying any local-level talent, this was another gig void of underground support slots and contained only 2 high-profile entries. But what a profile the first act has; Firewind. A band I fondly remember being featured regularly back in my Metal Hammer buying, power metal phase. With a long career already behind them, this Greek heavy metal band dating back to 1998, is led by guitar god Gus G who was recently Ozzy Osbourne‘s lead shredder and was clearly the star of the show. His magnificent mastery of steel made every lick a joy to hear and every solo a marvel to watch. Easily being treated as metal royalty in the eyes and ears of the crowd the songs and the activity on stage felt secondary as the focus was always drawn to his talents on the frets.

The tunes and songs themselves still stood on their own merits as the galloping heavy/power metal addicting elements were all in the right places. The speed metal, hyper-melodic riffs, and uplifting steely powerful choruses brought pride to the chest and warmed the blood as the energy in the hall appeared to amplify the vibes. Vocalist Herbie Langhans’s style and presence on the stage highlighted the best of both worlds in heavy and power metal, with soaring highs and talented magnetic mid-range timbre. It’s a shame he kept bolting off-stage every five minutes when the solos hit. Another nod needs to be given to the rhythm section of the band with drummer Jo Nunez‘s thunderous beats. His lightning-speed playing style kept the room alive with his skillful work behind the kit. Whilst Bassist Petros Christo’s deep tones and robust playing seem to inject a punchiness to the action on stage. But it all appeared to circle back to Gus G, with every solo and lead bleeding molten fire and twisted-out notes of fury. A highlight of the whole set has to be when the skillful use of LED fingertip lights seems to indicate that Gus had finally melted the strings with his shredding ability as the orange hues suggested lava on the frets. Overall, the elder statesmen Firewind‘s presentation implied they have embraced their mentor status here, gracefully handing over the torch to the new younger breed that follows in their footsteps. [7/10]

Onwards to the main event: Beast In Black who previewed their sets retro-flovorings with the intro music choice of a Billy Idol song. However, the revealing of 2 halved, blue-haired sex dolls in futuristic tanks as stage design, was an unexpected but curious, yet, fitting choice. Admittedly Billy Idol’s “Shock to the System” was the only tune I truly recognized from what followed. As much as this band has been particularly my brother’s obsession since 2019, Beast In Black has not been mine (I’m too scatterbrained to stick to one band). Blazing on the stage in full force and fully costumed this quaint eighties-infused metal was instantaneous in its effects on the room’s amassed metalheads. Instantly producing waves of bopping heads and jumping feet as their catchy melodic tunes and rambunctious choruses grasped everyone’s attention.

Flouting their greatest assets in the form of super catchy vocal lines and sing-along style songs that I could not help but join in with, even if I didn’t follow the words to the songs. It’s a special skill and a mark of a top-level vocalist who can draw a listener into their world like this and narrate an evening’s metallic madness with this ease. However, the singer Yannis was another one to do a disappearing act, frequently bouncing backstage for unknown reasons. His powerful vocals are a defined strong point next to the band’s stunning songwriting abilities, catching a vibe beyond the current space and time. Transporting the audience to an alternative timeline 1980s where perhaps the Euro-metal style similar to UDO, Warlock, and other Teutonic heroes became the dominant strain of metal (above the glam and hair metal of our reality). This brave new world sees bands embrace the cheese with indulgent keyboard synth lines backing, complimenting and companioning with manly strutting riffs with hooking melodic tendencies. Obviously, a style as bold as this has its critics and detractors who are put out by the friendlier whiff of softer sounds but those folk seem to busy themselves in the strangely violent mosh-pit near me. Causing me to shed blood, the energy in the crowd where I was, seemed to bubble into out-of-place frenzies of action, making for an amusing watch and bash.

The dynamic range of Beast in Black created an uneven terrain in terms of heaviness with power metal taking the majority but dipping into speed and heavy levels at times. Even going as soft as hard rock, for the phone-light/lighter waving ballad which the engaged crowd complimented. The mob was more than entertained by the healthy antics and chemistry of the other members of the band making the most of the stage room to connect to the audience. With cheesy maneuvers and over-the-top dated tricks, the whole band appears to love it on stage and clearly shows. Overall I was very impressed by Beast in Black as their songs and oeuvre leaked with passion, polish, and power. [7/10]

GIG REVIEW: M2TM: Scotland 2023 – Dundee Heat

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Bands: Oceans On Fire, Volcano X, Uganda’s Moonshine Epidemic, Kurnel Fist

Right on cue and again excellently presented by Big Paul’s Slow Dragon Music the next edition of Bloodstock‘s Metal To The Masses returns to Dundee. Pitting 4 of Tayside’s most respected metal acts against each other to win their spot at Bloodstock 2023. This year competing bands made for one of the strongest and heaviest line-ups seen so far. So without further ado, this is how it went.

Up first was the band that contributed the heaviest sounds of the night, fiery deathcore/metalcore mob Oceans On Fire whose prowess with heavy tunes is undeniable, and this show was not to be an exception. Setting off in a mechanical brutishness the first tracks of the set struck with a chaotically noisy aesthetic that seems to quickly overpower their more intricate movements. With a sound that came across with an 80% mix of brutal kick-dominated rumbling to 20% harsh snarling screams, it seemed that things were not okay over at the mixing desk. With everything else in their sound being smooshed and splattered in the terrible mixed sound it appeared that their impact and normally crystalline tightness seemed to fracture and severely hamper their normal strength.

Eventually, it seemed that the mix was partially corrected or my ears adjusted to their very corrupted sound, but it felt like the damage may have already been done by that point. However, there seemed to still be a lot of spirit alive and well inside the act which still pour out a brave and prominent performance. Their chug-tastic breakdowns and their thrasher-bait movements still made for a headbang-able, neck-ruining good time, despite the lack of clarity in the mix. No one can deny their presence and tenacity on stage as they powered through a heavy set of melodic yet destructive numbers that would have shaken the room if it wasn’t for fate or poor luck that had afflicted them this time around. [7/10] https://www.facebook.com/oceansonfireuk

Band 2 of the contest was punky cheeky chaps: Uganda’s Moonshine Epidemic. A wildcard entry if ever I’d seen one. This purely punk act was more than aware of the absurdity of their entry here, but as long as the band can put on a fun set and prove themselves a metal spirit within; Bloodstock does not discriminate, and neither should I. So off this trio went blazing through their set of upbeat speedy numbers. Combining a strange brew of punk aesthetics, ranging from melodic pop-punk bangers to classic hardcore style thrashcore cuts (that even scored a brief moshpit), and everything in between. Interspaced with funny irrelevant humor and banter about how un-metal they are, while affectionately making jovially piss-taking digs at metal for its cliches.

With each track introduced and narrated by their drummer’s crusty-style vocal grunts and sways, the band’s music seemed to take a reclined seat to their sense of humor and gags. But playing to their strengths and to the “half-a-youth center” they brought with them as support. This trio seems to hit all the right chords with myself and the room through some strongly produced music that emphasizes their youth, vibrancy, and spirit greatly. Overall UME did extremely well with the crowd providing an easily entertaining atmosphere to the masses. Despite not being quite what the judges might look for, they still easily made for a memorable introduction to who they are. [7/10] https://www.facebook.com/UgandasMoonshineEpidemic

Volcano X, next, seemed to be on top form once again as they got straight into their fast and furiously retro metal set of speed metal classics. The semi-finalist from last year‘s competition was seemingly determined not to miss out on the prize this time around. While also feeling reinvigorated from their recent tour. The comparison from the first date of the tour (here) is almost night and day with a much stronger vocal display here as Mr Steele seems to be back to his normal strength and vigor. While their riffs and tightly sweeping numbers quickly impacted as their tried and true hitlist, struck with their normal high standard of victoriously awesome.

In a performance that seemed to easily secure their spot in the next round, Volcano X once again proved themselves worthy warriors of metal as their top-notch tunes, dynamic songs, glorious speed, and charisma quickly won over another deep enthralled crowd. My Volcano X prophecy that they are in their strongest year yet seems to be coming true. [8/10] https://www.facebook.com/volcanoxmetal

In a rematch battle of sorts from last year, Kurnel Fist is once again on last, completing the line-up. This time around there seemed to be no technical gremlins to hold them back as they quickly fired up their intense stoner metal music on stage. Quickly capturing the room’s attention with their super heavy and weedy jams. Combining the retro sound of the US desert scene, these masters of reality bring their own unique attitude and flavor. The audience was swiftly under their spell and swayed with their bong-boogie.

Taking a more ambient and atmospheric approach this time round, the lengthy acid-spiked tracks curated a mystical path before the crowd that swooned from spacy to heavy and back again. Overall Kurnel Fist too raised their game to higher degrees than their previous M2TM efforts in terms of engaging stoner magic. [8/10] https://www.facebook.com/kurnelfist

And the winners are….. Volcano X and Uganda’s Moonshine Epidemic

GIG REVIEW: Volcano X – Rad Apples – Dundee – The Power Of Metal Tour

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Bands: Volcano X, The Jungle Cats, Under-volt

The gig cycle keeps turning as a new year begins, and I finally get back to going to gigs. My first stop is once again Rad Apples for what could be a night of a few historic firsts. Firstly, this is the first gig organized by the new promoter in town: KM Promotions (short for Kevy Metal), named for the leading man, Kev, who got into promoting after the dissolution of Immortal Omen where he played bass. Organizing his first-ever gig as well as the first-ever tour for local heavy metal heroes Volcano X.

Accompanying them on their first tour-de-force entitled “The Power Of Metal” is the well-prepared pair in Under-volt, whose style and substance quickly gripped the room as they began the night’s entertainment with marked heavy air. Kicking off in the style of the Melvins, this duo brought a heap of heavy, sludgy movement to their first couple of captivating tunes. They combined a deep prog-like instinct and stoner rock vibe that instantly brought a Solar Sons-rivaling edge to their sound, as the pair carved out a fine array of delectable sounds.

This duo of Vini Bonnar (drums) and Jed Potts (Guitars, Vocals) (or vice-versa), quickly grew a following in the room as the steady sound of this extremely dirty, heavy guitar playing led to a skilled and dynamic mixture. Blending and blitzing through layers of rock’s heaviest sounds, primarily starting on sludge before evolving through doom, grunge, and stoner in a sweltering display of string proficiency well above the average level of guitar playing. While on the drumming side, the connection between the pair was highlighted with a balanced and brilliant steadiness, a touch of flare, and functional flash.

With later tunes pulling in other non-heavy influences, like the country styling of their album’s titular track “Let’s Just Go”, and their locomotive skiffling beat of the following song did sway the set towards a lighter and lighter sound by the close. However, the gradient was so effortless, the shallow ascent so skillful that the whole set flowed beautifully and was deeply entertaining. Having already furnished the room with abundant stickers and merch, this act feels like a band that might see the biggest gains from the upcoming tour and will no doubt see dividends in the future. Rock on! [8/10] https://www.facebook.com/undervoltband

While missing out on actually hearing their sound during my brief appearance at this show here, The surf shirt-clad goofs in The Jungle Cats have intrigued me ever since, as I wondered if their peculiar stage/fashion choice also penetrated the music they played. Expecting something weird yet modern, The Jungle Cats finally revealed their hand to me as they began to play in a busier and younger room.

This 4-piece super-tight and super-synched sound found its plentiful fans with ease, but felt too young and definitely not aimed at my tastes in particular. Despite this, there was still a lot to enjoy from this fun little foursome. With a Biffy meets Clyro accent, and emotional feel, the clean vocals take the alt-rock vibes straight to the stirring side of memorable, and the intensive catchy side of melodic to make for a tasteful sound.

With their melodic capabilities easily demonstrated with a strong skill base, their set of songs quickly winded and spun a string of strong tunes that engaged a bouncy crowd. Though rooted in a softer more pop-punk orientation, this act was not without a decent amount of metallic bite. Here is where I gained the most from The Jungle Cats as their groovy beatdown sections and deviation into metalcore regions were tactfully engaging and decently devastating. Not the most extreme in terms of mayhem-inducing, as you can only get so far with easycore being the base, however, their hyper-synced stage-crafted movements strengthened the impact of each pound.

To summarize, The Jungle Cats are a welcome inoffensive addition to the scene and provided a great deal of fun per the pound that loosened the audience greatly and undoubtedly made a few of the newer scenesters nights. [7/10] https://www.facebook.com/thejunglecatsuk

Finally, it was time for Volcano X to start their tour with a bang in their home territory. The safest of starting locations, this band of metal warriors are well loved and documented in this scene. It was about time that they exported their sound elsewhere, and I for one was very keen for them to do so as the number of times I’ve covered them on this blog is starting to feel repetitive. Their extreme consistency in their talent level feels almost redundant to keep reciting but this act deserves its praises and monolithic reputation for rock and roll.

Due to ongoing sicknesses mentioned here, the vocals were, this time handled as a tag team. As JP would start a vocal line for Johnny Steele to cut back in and complete the verse making for an unusual approach. But it seems that Johnny’s vocals seem to get stronger and stronger as the set went on, recovery seems to be well on its way. But as always it was the whole band that really made this act what it is, on this night they were as tight as ever as they speedily galloped through their usual setlist of proven power metal hits.

Adding a solid ounce of oomph to the mix, songs such as “Mastermind” added a heavy thrash opening before blazing to the power metal they are known for. Unleashing the tour-titling new single “The power of metal” a song that may quickly rival their center-piece finisher “This is heavy metal” for their most bombastic tribute to steel they play. It was upon that metal standard they finished, late into the night, just beyond the dreaded curfew time. So their encore cover of Judas Priest‘s “Breaking the Law” felt more than a fantasy. This heavy metal classic sung mostly by guitarist JP was an extremely fitting way to end the first gig, what will hopefully be Volcano X‘s strongest year yet. [8/10] https://www.facebook.com/volcanoxmetal

Album Review: Various Artists – This Is Scotland Not LA I & II

Double review

My recent re-absorption back into the local Dundee hardcore scene, through the help of a few excellent shows last year, has got me reminiscing about my early gigging history and of all the long-gone bands I have seen. Back in the days when It felt like there was another hardcore show to go to every weekend at the Westie, the Balcony, and other such places. Such vibrant times and memories flooding in only helped to spark up my passion that was always an undercurrent to my metal ways that I just had to put words to screen. But how?

Conveniently through my regular appearances at a few Rad Apples shows and connection with JCHC (Jute City Hardcore) I picked up these 2 CDs which were instrumental in re-igniting more remembrances. As you can probably tell this series of compilations showcases the best, past and present hardcore bands, centered in my hometown of Dundee. Starting off the most obvious places with Part one of the series.

Taking the form of an extended split release, with all bands making a return on the 2nd half of the disc. This one may have way fewer bands than CD 2, but it makes up for this by digging up long-forgotten bands from my past as it covers the early-2000s. Let the journey begin.

Kicking off in high gear is melodic hardcore 2-step merchants Engage acting as Dundee’s answer to Comeback Kid but with a more positive outlook and bouncier riffs. Always competent and energetic this rowdy group knew how to project sweet vibes. Getting gnarlier next is a band. I sadly had no memory of Atomgevitter whose aggressively snotty nose aesthetic seems a fitting start to this comp.

Likewise the next 2 bands; I Stand Alone and The Process also escape my memory too, despite the super speedy frenzied former’s attitude standing firm against the depressive low chugs and metallic tones of the latter, but it’s Tearjerk and Filthpact that I am really sorry for missing out experiencing live. Tearjerk takes the formula of Engage above but doubles the menace, emotion, and old-school speed. Filthpact’s grindcore/power violence edge is the right blend of hardcore and extreme d-beat fuzz-toned “work ethic” that butchers and batters the right nerves.

Finally, in this 12-way split, we reach an act I have concrete memories of. Starting off with the chaotically mathy screamo of Allergo from Perth, who were frequent flyers on the stages in Dundee. Every time they played they brought their A-game, blasting out maddening tight and consistent sets of brutal hardcore, mixed with spacious interludes and mathcore madness that erupted the space they occupied.

Next is hardcore heavyweights By My Hands bringing the first beatdown to CD with their unity-defining jam “Forever Fighting”. Accompanied by the hype/entrance “intro” that made no one doubt where they are coming from as the gang-shouts of “GHC” make way for posse in full-effect hardcore stomp and two-step baiting barrages. Another classic band of the Scotland scene that always brought the masses to the pit to dance and mosh!

The side gig of prominent scene fixtures and figures, The Fight Back once again takes us back to the glorious melodic hardcore sound with more addictive riffs and heartfelt shouts, and pained grunts. Vitally strong yet mostly forgotten by me. One band that I have the strongest remembrance of is “Dundee elite” metalcore giants: A Written Apology. I think this band I saw the most times “back in the day” and have the most vivid memories of hardcore dancing too. As their keenly written and memorable tunes kept many coming back for more. Its tunes like “Catharsis Chlorophyll Consume” with its ominous Donnie Darko sound clip exploding into violent metalcore with intense riffing and manic screaming that makes destructive scenes and pits.

Sadly I think I was born too late for Twenty Centuries of Sleep as their post-hardcore and original-era screamo was way before my time in the scene though beautifully presented here. The same goes for equally obscure Condition 21 with its extremely lo-fi noisy tracks on the disc making for the least pleasant sounds so far. Thankfully it’s short and the tracks loop around again to the first band’s track 2 and onwards.

Overall this disc shows off the best side of Scotland muchly maligned and ignored hardcore scene as it was in the early-2000s which was as vibrant as it was noisy and as chaotic as it was unified in its purpose and community. These might have been the best days and nights of my life seeing these acts live, if only I paid more attention to these bands. Who knows what other gems I must have missed while being stuck in my own head or overcome with petty scene politics. I thank this CD for helping recapture some of these lost vibes in great times. [8/10]

Enough of this nostalgia! Let’s get down to business with the new and current breed of hardcore with Part II. With its strangely alphabetical approach, this monster, full-packed comp is so jammed full of exciting bands bringing fresh flavors, it is impossible for me to cover every act, so here I will just stick to the strongest acts and cuts.

The extremely fast Afterburn from the capital kicks off this compilation by providing a hazardous yet mosh-friendly banger that is over in flash. This leads on to the more metallic At Their Mercy whose violent kick is a much lengthier and thrashier affair with mosh-core breaks and beat(down)s. But all this still feels like pre-game until the real start of the disc with the next band. Bed of Wasp‘s blackened tones is an instant highlight in the CD as they combine mathcore complexity to the serrated edge of black metal from the north through gritted and broken teeth. Fantastic!

Invernesses Below The Neck‘s pleasing and monstrous track raises the heavier scale to its highest mark so far with the first truly menacing tastes of heavy-hardcore, through this metallic moshcore anthem they produce. Although it’s Aberdeen’s Bitterwood who provides the heaviest and most brutal cut on the album as its monstrous downtempo beatdown-centric deathcore takes over in an obnoxiously dense track. Beginning with an equally objectionable Simpsons sample that does take the listener by surprise, just like the extreme heaviness but this set of ruffian’s track does expand the formula slightly with a trap metal-style verse to end with. Uniquely Brutal.

Next, the mysterious Bleaks brings a classic hardcore sound in another rapid attack before centering on a Mineral-style post-hardcore mid-section. A welcome break before launching into the next onslaught. Glasgow’s Demonstration of Power is up next. DOP here carrying the torch of GHC from By My Hands clutches and barring the load with pride and excellence with a stunning piece of heavy-hardcore. A pit starting, mosh for die number that takes no prisoners. GHC colleagues in Despize quickly followed on their heels with an equally as heavy yet less memorable track.

It’s up to the Glaswegian Divide crew to finally inject a pitch melody into the proceeding with their tastefully presented melodic hardcore sound that envies Comeback kid‘s style with their own menacing grace and keen melodic hooks. But any taste of melody is quickly washed away by Endless Swarm‘s chaotic power violence approach, which possibly out-classes everyone in terms of sheer sonic roughness. Their extreme sound is best described here, though undeniably a high point of the disc.

The confrontational political Fit To Work takes a slight step back away from all the hardcore with a more classic punk-rooted vocal attack while staying top speed and furious. Freedom Fist seems to openly challenge Endless Swarm with their own extreme power violence assault that rips and gnaws with much gnashing and slams. The wailing then continues with the extremely brief yet visceral Gay Panic Defence queercore-violence takes another lunging stab at the ears, see here for more.

Get It Together’s super catchy and shouty chorus returns the melodic vibes of Divide but with ten-fold the addictiveness and foolproof charm. Providing one of the strongest tunes on the disc purely through their spirit and willful smarts in song construction. With the disc covering many hardcore and adjacent sounds and styles, it was only a matter of time before the crossover and thrashcore appears, and Hard Stare (featuring members of thrasher groups Disposable, Kingpin, & Fatal Collision) provides an excellent and concrete vital example of the sound done right and righteously furious.

Skipping through the strange bearly-listenable noisecore Headcleaner, and the predictable moshcore of Hellbound we get to old-school emo veterans Kaddish. The only act that would fit in with the first CD as well as they have existed since then. Providing copious post-hardcore vibes and first-wave screamo to captivated rooms. The example here maintains their opulent prominence. Kakihara also taking strives toward crafting their own legacy with a unique sound that portrays a deathly Converge hybrid that fills many with so much joy (just like here). Next, the brutes in Kingpin give us a quick lesson in pit starting while Glasgows Nothin’ But Enemies goes for the doctorate in slam dancing with honors.

The frighteningly dire and depressive lo-fi deathcore of Shelf takes this prize for the oddest and most unsettling listen of the bunch while Slept On‘s stomping beatdown fest is one of the most single-minded and epic pit-folly takes. The painfully low-quality production of Start Again’s quick tune is one the hardest to listen to in the wrong way. Truth Ruiner caps off this collection with another strong banger from this tape, that safely combines the average sound of all of the bands above into a safe mix of melodic hardcore and metalcore. A strong finisher.

It is safe to say that this disc is quite the odyssey in sound with many twists and turns. But overall this duo of discs feels almost definitive, and could almost be called “Now this is what call Scottish Hardcore” but that would be super-lame and undignified. As this set of bands represented here deserves much more! The hardcore scene in Scotland may not be the most prestigious compared to other parts of the world but what it lacks in recognition the bands and artists here make up for in passion, ethics, and uncompromising authenticity in sound. This is Scotland and I love it. [8/10]

GIG REVIEW: ENDLESS SWARM / BELOW THE NECK / ASSIMILATE / WREAKING JOY

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Bands: Endless Swarm, Below The Neck, Assimilate, Wreaking Joy

My final gig of 2022 comes in a rare flavor in these parts: Powerviolence. Seeing only hits of this style in some of Gay Panic Defence stylings at the show way back in Rad Apples’ early days. And it’s here again their basement I found myself unfashionably late to the party as the opener was already started.

Coming in as late as I did, I caught only the last minutes or so of the new band, Wreaking Joy’s set. What I did hear was extremely violent, fast, and in your face. With a harshness also rarely seen this early on in a Rad Apples gig, the havoc wreaked by this team was extremely tight, precise, and very loud. Created by the teaming up of members from A Life Without You and Knives Chau Fan Club, though almost completely divorced from either act’s sound. The chaotic mathcore, dynamic mixed with deathcore level heaviness and all mixed with a hardcore punk speed made for a frenzied yet unforgettable introduction to the night’s chaos and anarchy [7/10]

The next band was Inverness’s Below the Neck whom I had last seen what appears to be ages ago in the pre-covid era. However, since then BTN has been branching out into not only caffeinated products but into a much more maturely brewed act. Previously presented as a mishmash of accessible flavors of metalcore to pop punk has now been refined like their coffee beans into a caffeinated shot to the arm/head with a straight-up posse metallic hardcore flavor.

This new brewed sound takes a lot of the key features of modern hardcore, complete with menacing beatdown ownage, the fuck-heavy guitar tones, and relentless double bass poundings. This explosive sound erupted the moshing area to waves of slams and spin kicks as the hardcore masses in the room did their utmost to raise hell in the hardcore spirit of unity and love of sick jams which BTN provided in healthy doses.

Their clout and hefty tunes did much to up-keep the momentum by providing endless moshing potential, although not the most distinct of writers, a lot of their songs quickly merged into grey as anticipation turned to the next beatdown inevitably just around the corner. Overall this was a great showing from these young lads, as it was clear from the outset how much they have focused, grown, and improved. Creating another act that can potentially be a contender among the bigger names in Scottish hardcore. [7/10]

Fresh from kicking up a ruckus in an HMV, Assimilate was next up and takes us back to the sound of 2003 with a modern twist. Fully admitting to being out of their depths in terms of heaviness the London boys in Assimilate tried their best to keep up with some modest bashing beat-down sections that come “as standard”. This keenly passionate and driven act quickly showed their vibrant colors and their unique blend of influences. Combining nu metal structures as a frame, this band added their own flare to the architecture, as they applied modern hooks, and skills. With progressive and Tool-like guitar leanings placed on top post-thrash mid-ranged oomph, their melodic edge leads the way to a very fertile and hook-driven approach in the riffage.

Hitting almost the middle point between the two movements in the metal, Alternative metal cross-pollinates successfully with modern metalcore to somewhat awesome heavy results. Center to this is the beanie-wearing vocalist whose growls and harsh vocals bridge the gap between the styles as his controlled patterns devoured and attacked. As their set proceeded with some forgettable song titles, the heartfelt singing did a lot to captivate the room, and the more melodic sections highlighted a talented singer beneath. Overall the dudes in Assimilate achieved a lot in a short space, with an energic presentation, confident songwriting, and entertaining presence no doubt left more than a few wanting more! [8/10]

The true blue power violence party from Edinburgh, Endless Swarm, did not fuck about and instantly unleashed their fury and flames in a dramatic violent fashion. Ripping out the gate screaming and blasting to the beat of an extremely tight slamming snare sound, firing blast after blast. Leading and conducting the already frenzied crowd was the heavily tattooed screamer whose snarls and shrieks pierced and penetrated as waves of speedy spasms to the deep anticipative, rolling slow sections that bridged the gaps between blasts!

The kinetic energy in the room was magnificent as the seemly possessed punters showered the room in slamming waves of slam dancers and constant finger-guns rapid firing to the beats and blasts. The pit at times even took on a ritualist appearance as comrades spun, twisted, and connected into chains around the bassist in the middle of the pit. The bassist plays a crucial role in any power violence act, providing the essential backbone to the punk speedy punk riffs and tanging fast-stops, rippling rumbles. Accompanied by the Spazz-style mumbled deep vocals from the bassist added another layer to their sound while playing homage to the greats of the style. Overall Endless Spawn quickly proved themselves a vital yet unsung hero of the realm of PV and extreme hardcore music as the madness they inspired was legendary in the tiny basement. This was yet another awesome night of heavy hilarity to see 2022 out with and bang and blast beat! Incredible! [9/10]

Album review: Primitive Vices – Savage Sonic Sermons

First properly introduced to this 4-piece at this fantastic show several months ago and since then Primative Vices have only been striding upward and this debut album has more than helped them on their way. At first, I had mistaken Primative Vices as a thrasher act, but on reflection, and from this splendid output places them as firmly in the stoner/sludge corner. Though thrash is not too far away from heart and influence.

Key to this is a strong High on fire influence that is almost overwhelming as the opening salvo “Shamans Skull” attests. Its balanced stoner metal flames lick closely at the heels of the sludgiest end of the thrash scale as they roll and rumble through the mid-paced metallic jams in a foggy haze. The slower “Chasm” next a deeper plunge next as it mournfully stomps a melodic march that brings to mind the heavy steps of a caravan of Mastodons armed for battle.

The rolling rumble of “Infernal Rites” shows them a provider of fine blues boogie as a more soulful meandering path of the guitar gages wide swings and a classic metal flavor. Never frightened to get faster and throw in thrashier sections, the pace of this LP at points fee like a speed-sludge in places. Furious yet with a purpose.

The Clear highlight of “Bone mountain” with its screeching lead intro before developing into a heavy quicker number underscores their deathlier influences, while also a Corrosive and non-conformity instinct to their sound as the volume they deal is triumphant and yet undoubtedly monstrous. Intricate and possibly even progressive skills in the songwriting are on show throughout the album with their complex melodic charms intertwining with sludgier and dirtier guitar tones. Leaving lots for the ear to dig into and the brain to wander around in the layers. This album is best listened to on repeat as each rotation is bound to make you spot something new and clever between the complex and tight playing of this squad.

The Vocals are a combination of well-produced echoed shouts and roars, aiming more boisterous than powerful with a tone that is downward bent toward Conan’s pained gurns. With the voice taking a back foot, this act is all about the guitars, and instrumentals. The complex guitar leads and intricate interplay between all of the elements, from subtle pauses for drum fills here and there to the skillful bass tones and connectivity, all make for a band that is distinctly in harmony to make beautiful noise.

Help in their mission to make this awesome racket is the production job that is spot on! Like all the notes have been seeped in a muddy substance, each of the instruments like the thick and sticky bass grooves that shred and tear behind the smokey grooves of the lead scrapes and wails. Keenly aware of when to hold a note for another long screech of feedback the atmospheric tones and layers of filth in the recording only help to deepen the experience without feeling too dreary and doom-like. With that in mind, the final long stretches of the last two tracks are where they might lose some momentum, as these more spacey and slower pieces, though as intricate as always, seem to lead them to mark too many repeated circuits. Primitive Vices seem to be the most effective with more speed and directions and the “SIlent rider of the sea provides” although it is fuckin ‘eavy!

Overall this album has been one of my highlights of the Scottish metal scenes output in recent years with Primitive Vices set to lead the charge in exporting top-line stoner/sludge with a lot of passion and a lot of weed. Go get ’em, boys! [8/10]

GIG REVIEW: Ripcord with Support from Volcano X, Dinosaur Death Pose and Hyperstasis

https://www.facebook.com/events/1144228343114204

Bands: ~~Ripcord~~, Volcano X, Dinosaur Death Pose, Hyperstasis, Burn To Ash

Providing host to the year’s wettest gig was a venue I have missed dearly this year. Having neglected the mighty Hordes fest this year due to scheduling conflicts, the good ol’ Beat Generator had sadly not had much footfall from me in the second half of this year. However on my last visit, just like this night, there were more than a fair few familiar features and friends. Today’s gig once again played host to an eventful ruckus courtesy of a few well-rehearsed faces and bands, such as tonight’s opener which got proceedings started

The last time’s furiously talented headliner Hyperstasis graciously started the show as the opener in their signature eclectic style and movements. But with a caveat. Little did I know that “caveats” would become somewhat of a theme of this gig. It seems that due to some undisclosed health issues, it appeared arguably their biggest and newest asset, the fresh-faced Phoebe has had to exit the band. Leaving the band to try and find a workaround and adapt. Which, clearly the band is more than adept at doing, going by the slippery nature of this band’s sound. This mostly instrumental version of Hyperstasis efficiently carried itself upward with confidence that many would lack, built purely by their achievement in songwriting. Their progressive-edged alternative metal and atmospheric post-rock styled riffing easily side-winded a complex path that entertained in its sweet smooth curves and plunges into heavy.

The Slavic tones of chief guitar man Mark retain the majority of the energy and presence on the stage as he battled and purged dynamic riffing with slick and sweaty solo licks that look exhausting to commit and a joy to hear. Blistering discordant mathcore sweep and sustained feedback swirled and melted seamlessly into groovy and funky alternative metal riffs that keep the listener on the edge of the seat. It is safe to say that Hyperstasis progressive sound is a step beyond most. The rhythm section bass and drums equally have a firm footing if a tinge less ballzy. Holding their own while pumping out a steady flow of post-hardcore postures and sludgy grooves, that help to fill the void left by a major character. What vocals the bassist was able to muster for their more atmospheric tracks did engage and open a possible avenue to proceed down. However, I don’t seem a band as strikingly hyper as Hyperstasis being truly at home going the ambient post-metal route. [7/10]

Next up was newcomers Dinosaur Death Pose playing their first-ever show. However, these dudes on stage were no strangers to the blinding lights and buzzing amps of gigs as they already have varied careers behind them. This all-around talented act knows their stuff inside and out as they are partly combined with defunct retro outfit King Slough (seen here) and carried on a lot of their graces with their chilled-out trucker attitude. Getting down to business quickly and expeditiously this curious act quickly filled our ears with something rough yet friendly.

Instantly pilling out a heavy rock sound that was more than in line with something strong alternative rock radio would broadcast. A pleasing blend was produced from that stage that seems to quickly find the sweet spot between stoner rock and heavy alternative. Giving vibes of a more confrontational Foo Fighters cross-pollinated with a light Clutch vibe pushed through an unground filter piece. The Post-grunge flavorings that were present through the vocals, were quickly wrapped to form a friendly alternative rock that was easy on the ears yet enormously engaging. Perhaps leaning a tap on the bland and soft side for rougher and harder tastes (such as mine).

Stepping aside out of my own little sphere of “limited taste”, and beyond the confines of metal, I can definitely still see and hear the appeal of DDP. Their mellow-to-bone feel and talented songwriting do a lot of the reaching. With their big tent approach, unencumbered by the need to prove themselves the meanest bunch on the map the gentler yet sturdy set-pieces kept a strong momentum throughout and accomplished much. Overall this 4-piece rocker did more and enough needed to entertain many and start the next part of their careers on a sound & stable footing. [7/10]

It doesn’t seem possible for me to get too far away from Volcano X, as they are now my most covered act on the blog and here they were again but with a crucial difference. Due to the long-term effects of long Covid, their normal singer Johnny Steel was unable to take the reins and lead this time. So it once again fell on JP to prove his metal again but this time taking on the vocals!

Blazing through their standard speed metal setlist of extremely reliable back catalog, the fiery team on stage connected instantly provides some of the most memorable and moshable moments so far. Their tag-team gliding classic metal stanzas fueled a warming, if, disappointingly tame crowd into more action. Their powerful tunes and stirring riffs made up for the less-than-stellar vocal efforts from JP whose vocal range was not a match from their normal ringleader.

Though clearly nervous, the effort was clear as the catchy and well-known tunes carried much of the weight nicely. A cover of Judas Priest‘s classic “breaking the law” helped to raise the vibes to a distinct peak before playing to more of their own classics to a descent reception as they churned out their well-tested material. Safe in the knowledge they have a secure backup for/when needed, that can still put out a decent entertaining set. [7/10]

So far this show has not been quite what I bargained for. Firstly Hyperstasis were vocalist-less and yet still an engaging instrumentalized version. Dinosaur Death Pose was much more experienced than advertised and decidedly softer than expected while still hooking me in. Volcano X kept up their high standards with an admirable replacement singer, but the final band has the biggest asterisk next to them. The headliner was supposed to be upstarts Ripcord (last seen here) but also due to some unforeseen circumstances, had to pull out. So in steps, a backup band in the form of Burn To Ash.

This new act, features members of Breeding Indium (also seen from my last visit to the Beat Gen), Ripcord, and a few other bands while Ripcord is in disrepair for the moment. Confidently B2A got down to lay out some rock and roll. This act though fresh-faced was efficient in producing a noisy racket that pooled a number of influences. The face of the band and lead singer/guitarist has already various many years under his belt performing (with Breeding Indium and other acts) and added skillful licks and a gristled voice to the mix of modern alternative metal and 90’s grunge with a large character.

It was a heavier experience than what DDP had produced before but was notably less polished and less accessible with its grey tones. The Burn to Ash tracklist here had a confused blurry theme with a few numbers melding into a grey mass of less memorable songs, while other heavier and thrasher tracks broke through with a much need boost of energy. But for all their bashing and bopping songs that are well-constructed, I struggled to get invested and fully engaged, though this may have been the day catching up to me and fatigue setting in. Sadly having to cut my experience short due to bus times. What I did capture gave me a strong impression of another fine act to grace the stages of our local scene. [7/10]

GIG REVIEW: Oceans On Fire – TRINITY EP Launch with WAVES & Archethos | Dundee

https://www.facebook.com/events/398836322454438

Bands: Archethos, WAVES, Oceans On Fire

Rebranding/regenerating can be difficult while also being equally rewarding when it is handled with fine care. That is exactly what Oceans On Fire has been doing behind the scenes as they shed their old name Kaoss Theory! and became a much more mature act. With the help of some extremely slick and polished music videos and a sharp-edge graphic design, the next stage in this Central Scotland act begins in earnest. Launching this revival was one of a few selected launch shows, including this one where they are launching their debut 3-track EP appley named “Trinity”. Again I found myself in Rad Apples basement ready for more metal!

One of the scenes characters I have seen grow before my eyes, going from strength to strength is JP (best known as a part of the much-covered power metal crew Volcano X). An artist who is clearly stretching his music legs and as a member of David Delinquent and The I.O.U’s he is seen branching out to become a star in his own right. On this occasion, he is debuting as a last-minute replacement for H8teball, this side/passion project: Archethos.

This behind-the-scenes project is something completely different and heavier than his normal gig, as with a bunch of online pals, this virtual endeavor is instantly a weightier beast as the waves of thick chugs testified. Playing as an intriguing one-man-band form, as his bandmates were impressively trapped inside his laptop providing a stunning backdrop to JP‘s talented style of guitar playing. An imposingly Technical poly-rhythmed djent pummels were produced in thick waves that swelled and thudded the room with pleasing results. Djent riffage as heavy as it is is not my go-to style for metal so it was gladly broken up by technical and jazz-like soloing, and progressive noodling that kept the nerdy side interested and entertain with his stylish strokes.

This being the first gig of this project, the interludes between the songs were a touch awkward but were well received by the room. The rich electronic wizardly worked fabulously to provide a full-on experience until it didn’t: when we got an unintentionally funny moment of silence when the laptop screensaver started mid-song. These minor tech issues aside Archethos provided a fully experimental touch to the proceeding as introducing talked and sometimes ambiently yelled vocals still gave us what can only be described as progressive narrative Post-Djent/jazz (Djazz?). As a whole, the JP package here was striking in its skill and precision as delicate as it was heavy. A job well done for their first time out. [7/10] fb.com/archethos

Next up, with a full complement of members was WAVES, a gritty all-caps group of Glaswegian post-hardcore rockers. Quickly getting stuck in a determined manner they blew off any stiffness and pushed out a memorable melodic hardcore stew of stylish throwback thunder. Quickly embracing their influences tightly their infectious bounce-and-roll style was readily enjoyable and energetically displayed. The abscessed-ridden singer visible pain transferred into an impactful vocal performance but not getting the crowd movement/feedback seems to anger and hinder him slightly in mood, but emotionally his violent screams and growls were on point. Feeding the crowd with a healthy dose of teeth-gritting choruses and melodic post-hardcore energy, could not help but bring back past glories to the fore.

Mixing the memories of hardcore-past with clear tributes and influences shining through with callback points being Underoath, Alexisonfire, and Emery while injecting a whole heap of their own personality. Uniquely holding their own with some giant riffs and stomping drops and bashing this wholesome gang of 5 can bring the mosh when required. Also of note is the drumming skills displayed by a rare talent that uses a traditional grip style to noticeable effect. The key of the set here besides their charismatic tunes was a deeply nostalgic touch of their retro edge. All this gave the crowd strong vibes of that era of post-hardcore before djent and easycore ruined things. A satisfying throw-back to noisier days yet simpler times which made for fuzzy, yet warm feels in the gloom. [7/10] fb.com/waves.scot

Finishing the night on an unmistakable high note, Oceans On Fire were on last, launching the next part of their careers in a heavy fashion. This single guitar act punches well above its weight in terms of heaviness. Their sound is an ultra-modern and hyperlink metalcore/Deathcore hybrid that takes deathly heavy breakdown dives with melodic metalcore gleam and polish in the chorus. With hefty beatdown passages taking an early lead making for a mosh-friendly start, I was a shame the moshing area was swamped by photographer-girlfriends, clogging the floor that needed a bigger venue to alleviate. This unintentional barrier did nothing to stop their extreme sound from penetrating the masses with their bulky grooves and passionate verses. With an extremely tight backing from the rhythm sections bulky bass tones, and brutal bashing drums, the riffage here was complimented fully as they weaved groovy thuds, with bruising breakdowns.

The electronic “bshsooms” noises accentuating their beatdowns is a nice touch of polish it wasn’t beat out of time at points and is slightly predictable here, but that’s just window dressing. What they more than excel at is their formidable thrashing sections that have the tightness of crossover thrash in their speed and accuracy, standing them apart from their djent-obsessed contemporaries. Vocals are decidedly beefy and are boldly the focal point of the outfit with a strong-voiced violent vicious bite and brutality, providing grimly low growls to mid and higher shrieks and screams all well-controlled exercised, besides some melodic singing and catchy hooking chorus points.

With a set that appeared to end sooner than expected, Oceans On Fire seemed to effortlessly keep your attention through their engaging craft and maturity as they take their next step upwards and hopefully become that next rising star in the scene. Keep your eyes and ears peeled for their next move! [8/10] https://www.facebook.com/oceansonfireuk

GIG REVIEW: NEXØ / Knives Chau Fan Club / AGASA / A Life Without You at Rad Apples

Bands: A Life Without You, AGASA, Knives Chau Fan Club, NEXØ

After nearly crippling myself at Machine Head at the start of September, it took some time for me to venture back out, and get to another gig. Fortuity was with me as the option to be in the right venue at the right time, let me catch this wonderful punk & hardcore show. Hosted at the hardcore hotspot Rad Apples, a venue known for its morals and antifascist ideals, making the night’s headliner NEXØ who aligned in spirit and ethics an obvious choice for the basement’s tiny yet adequate stage.

Before all that, the first support act of a packed evening was pop-punk kings and queens A Life Without You. A band that has a small switch-up of members on their upward trajectory. Losing a guitar player in the shuffle, they have switched things around to give their vocalist a dual role as a guitarist too. Though not normally my particular choice of sound, this passionate bunch of teens and boppers captured the room’s vibe with their upbeat emo adjacent tunes. Filling the basement with a well-composed and energetic blend of soft-hitting poppy punk mixed with post-hardcore rock that made the place move.

A band that has undoubtedly carved its own sound and energy this bold bunch knows how to blur the lines between their undeniable influences and their own handcraft while injecting pockets of passion. Notable highlights to the set besides their catchy choruses include any point where the singer gets to leave the guitar onstage and go into the crowd to rock out an epic chorus or two. Also, whenever the bassist, (normally a silent character) lets out some brutal riot grrrl-akin screams and shrieks, that were piercing to the point of pain, but very powerful and very memorable for their violence. To sum up: ALWY is an act that is on the move upwards in my estimation and seems to have consistency on their side, as this was another fun set racked up. Landing greatly with the crowd this young team seems to shine brightly for those watching. [7/10] fb.com/ALWYband

Photos again provided by the wonderful Everlong Photography

Next up was more punk vibes courtesy of AGASA or as they style themselves “Arbroath Goths Against Sunlight Association”, who brought in a rougher sound. With a name selected apparently for internet search term optimization reseasons, they quickly gave off vibes of a fun-loving bunch of hobbyist punk rockers, and hardcore kids who were out to entertain and enjoy themselves. Both of these they achieved with added ease as they piped in fairly basic, yet effectively sturdy punk tunes that were easy on the ears. The songs however seem to take second place to the chat, banter, and jests of bassist James whose wit and humor really lead the way, above his strumming basslines and vocal grumbles.

Forging a great comradery between the audience and the band, the highly entertaining back and forth with the humble crowd seem to enhance the music. As basic and “by the book” the mix of punk to hardcore tunes was, they knew how to strike. Letting loose charming bare-boned pop-punk riffs sitting atop of thick thunder of drums, and buzzing bass. The tunes carried themselves on their own merits, reaching few but distinct peaks amongst the heckling highlights between the songs. The energy and vitality of a band just having a great time onstage entertaining visibly transferred to the room with an uplifting vibe and though the delivery method might be at points forgettable, the effect was definitely not short-term. [7/10] fb.com/AgasaUK

Thanks again to EverlongPhotography for use of their sweet photos!

For the next act: Knives Chau Fan Club had an equally odd name, but a different approach to writing and performing. Providing a significant leap upward in technicality and dynamic songwriting, the trio of KCFC created a progressive edge mix of genres, crafting an atmosphere with wild swings. Atmospheric post-rock/metal and early screamo influence a la Funeral Diner passages blended into powerful Cult of Luna-styled sludgy barrages, that had me swaying in its tense movements and feels. Before crunching down it to mathcore glitches, damaging breakdowns, technical soloing, and confident noodling guitars that could not help but impress.

A band that has a fluidity many bands lack, the KCFC gang from their corner has an impressive array of talents that can easily carry them to multiple scenes. From post-punk crowds with their gentler vocals aches and pains of clearer moments. To straight-up hardcore when their music pulls them to harsher areas, and even into the artsy areas with their progressive and captivating musical grasp of technicalities. Knives Chau’s talent here felt almost underutilized with the length of their set, however, what we got to hear was more than enough to capture the imagination and more fans to their club. Elite! [8/10] fb.com/kniveschaufanclub

Formed as a direct response to the orange monstrosity Donald Trump being elected in 2016, and named after a danish volunteer regiment that fought the fascist Franco forces during the Spanish civil war (which in turn was named after Danish socialist writer Martin Andersen-Nexø) it was very clear where this band stood politically. So it was perfect that this group of rowdy Danes were in the most progressive place to be in Dundee. NEXØ wasted no time in getting started and quickly ripped into their signature style of hardcore punk! Shredding into a fiery set of fast and furious songs that quickly erupted the place into frantic movement. Their uncompromising integrity in sound feels like a vitally needed throw-back to the early days of hardcore. Back to when speed was key!

The retro-sonic revivalist revelry these Scandinavians drew heavily from the greats. Making a sound that echoed the likes of Minor Threat through to a multitude of early hardcore greats, to Black Flag while skillfully retaining their own identity with their infectious energy and the blistering breakdowns and modern touches. Keeping their sound extremely fresh and vital the room was bristle of shuffling bodies, berserk bouncing, and menacing moshing that just seem to grow wilder as the hits continued to come in waves of frantic anthemic gang shouts (such as in “White Lies”) and disgustingly crust bass tones kept ripping at a unceasable speed, mirrored by the d-beating drums and buzz saw melodic guitaring. The thoroughly exhausting display of this act seemed like liquid fire or lightning in a bottle, a rare perfect storm of metrics that combined to provide almost a perfect set of hardcore. More Hardcore like this, please! [9/10] fb.com/nexopunk

Album Review: Paradise Lost – Draconian Times

The band named after my favorite book was bound to cross my path eventually, although catching Paradise Lost blast this iconic album live at bloodstock made this record jump up the queue. An album that is on so many people’s “all-time best” list and shelves, this 1995 monument to gloom from West Yorkshire’s finest well deserves its place in metal history.

This was Paradise Lost fully losing the cacoon of the early Peaceville three days, and emerging into the mainstream dawning light. Losing practically all of the death metal sound from the Death-Doom days of yore but retained the doom and gloom through their aching slow-to-mid tempos and but gaining a strong grunge tint to their sound, in their vocals tone and mixing.

Lyrics of desolate emotions, bitterness, anger, and sadness portrayed through Nick Holmes’s stressed and pained vocal cords cut sharply through the robust backing of melodic yet addictingly dreary guitar flurries. The guitar here is especially notable, due to how often they are overlooked in the multitudes of imitators of the gothic metal scene this album inspired. The melodies and thunderous stomps of the riffs in this album feel very forward-facing and direct, compared to later gothic words that focus on the vocal gloom above all else. Here the riffs and music are on a level footing and fairly equally share the impact of the album with the haunting vocals.

“Forever Failure” beginning with the famous words of Charle Manson, is arguably the peak and most single-ready point of the album and is well placed in the tracklist. As it first few tracks intrigue and suck in the listener just in time for this heart-rending track to complete the capture, successfully deepening the experience to the point of pained ecstasy. With a robust production job, every element on the album is distinct and memorable. from the guitar tones to the buzz of the bassist’s strums, to the melancholic style of the slow-paced yet powerful drumming. All parts have captured the listener into its fold and swallowed into the deep.

As iconic as the artwork is now, based on the respect this album has, there has always been something that irked me about the kind of generic style of album covers. Artist Holly Warburton has done a great job carving a memorable piece here with its creepy yet colorful design, and indistinct figure on the cover. But I feel it shadows too closely to the less-than-stellar gothic metal cover generator style from the Travis Smith school of cover art. But this is just a minor quibble compared to the music it drapes within.

Creating an unmistakable landmark in gothic metal that practically shaped a generation of depressed followers, it was definitely a challenge to write about such an album with repeating points better articulated by other writers. However, this album remains an excellent addition to anyone’s “must own” section as the gloom of this record is essential listening for all those darkly inclined and beyond. [8/10]