GIG REVIEW: Sabaton – The Tour To End All Tours 2022 | Glasgow

https://www.facebook.com/events/2960454487600163

Bands: Lordi, Babymetal, Sabaton

Despite a very eventful year for gigs, so far, most of the bands I’ve seen have all been on the underground/minuscule side of the spectrum. But now it was time for my biggest gig of the year regarding audience size as I made my way like thousands of others into the Glasgow Hydro‘s epic arena space for an epic night of metal and steel.

Marking my first return to the biblically large space that once held the hordes for the Legendary Slayer, it was quite the contrast in crowds between the calm demeanor of the power metal fans that packed the room. This time the metal monsters were on stage in the form of Finnish monster-mash Lordi who started the music in a sinister and creepy vein.

The larger-than-life costumed act is famous monsters the world over ever since they claimed a victory for hard rock at a certain European competition. Lordi has commanded larger and larger stages mostly to accommodate their enormous costumes, characters, and growing ambitions. However, in the Hydro, it seems that Mr. Lordi and his ghouls were caught on the backfoot slightly, playing much as the underdog in the line-up of much heavier and metallic leaning acts.

Through playing to their strengths their anthemic songs, uber-cheesy cheap horror movie vibes all made for an amusing set that screamed more Cooper than Gwar in intensity level. Some tracks sweeping as soft as glam rock such as “Would You Love a Monsterman?” lacked a particular bite. While other with medium cuts like “Devil Is a Loser” it seem that Lordi was only just stretching their metaphorical (and literal) wings just at was time for them to close their set leaving chan chants of “Hard Rock Hallelujah” to ring out on great warm-up for the night’s music. [7/10]

From one massive gimmick act to another the next band, Baby Metal has the largest controversy hanging over them ever since their inception. The inventors of “Kawaii metal” (Dumb name) have been boiling the blood of many an elitist for some time for daring to give the global metal scene the shake that it desperately needed. Their fusion of J-pop cuteness, manufactured commercialism, and modern metal heaviness has stirred many a debate about the meaning and nature of metal. But I was not in the thick of a crowd to think of any of that moment. My goal was to be entertained in whatever form that takes and as the Idol Metal (a better name) giants belted out their hype track “BABYMETAL DEATH” the energy in the room multiplied immensely, followed by a strong desire to get into the pit as soon a possible. 

Pit-bound as was I had taken little notice of the choreographed dance routes on stage and focused purely on the heavy music they blasted out from the anonymous Kami Band. As much as you can criticize the manufactured nature of the sickly sweet poppy side of the trio of relatives youngsters on stage voices, what is often overlooked is underneath/behind them is a group of well-versed and skilled musicians who know how to play. Ranging between unabashedly cheesy power metal licks and speed, to modern deathcore-djent bounces made quick work at getting the pit magic happening. 

As repeated laps of the circle pit racked up it only seemed to get wilder and wider before reaching fever pitch through the infantile joy of “Gimme Chocolate” before breaking into the Dragonforce emulating “Road to Resistance” It was clear that this room (myself included) could not be helped but revel in the unashamed glory of this silly, yet highly effective, high energy metal magic! [8/10]

Onward on to the main event, the unstoppable Swedes of Sabaton the bringer of war-themed metal. Taking me right back to virus-ridden days of getting my music online from Kazza and other pestilent sites, Sabaton is one of those early bands that I have always kept my eye/ear on. Their first 2 albums “Primo Victoria” & “Attero Dominatus” are some of my all-time favorite records that have endured long past my power metal phase to today. Although it was not until I saw them live and decisively upstage Dragonforce as a support act, that it truly hit home how much of an awesome act they were, and here was another opportunity to impress me further. 

Starting with a literal bang, the explosive pyro-backed opening salvo “Ghost Division” hit hard like a tank blast providing the peak Sabaton sound. Keyboard-led catchy synth riffs, melodic yet thumping guitar work, and thundering drums all wrapped with sing-along style vocal lines that instantly catch the audience and lead me again pit-ward. Reaching the battleground just in time for them to unleash a special treat, an old cut from the first album the extremely thrashy “Into the Fire” which went down swimmingly with the bonkers Glasgow crowd. Fully aware of their crowd’s needs it made perfect sense for “Blood of Bannockburn” to be played even if it was off-theme of the tour.

That theme of the horrors of World War One that they have stretched 2 full lengths out of (with plenty more horrors remaining) provided plenty of room for visual theatrics and imagery as the heavily barb-wired decorated stage and battle tank drum stage was backed dropped by huge screens visualizing the subjects of their history heavy songs. The touching tribute to Lemmy, Motorhead, and the forgotten young dead of WWI in “1916”, solemnly played with a lone army drummer on stage gathered rows of swaying arm-in-arm pit brothers to lay down their arms briefly. The likewise ballad of the out-of-season ”Christmas Truce” brought forward a pub piano to the stage, but more importantly for the sweaty masses, fresh snow rained down to some visible relief. Their whole set was littered with these added onstage elements that enhanced the visuals massively, although my eyes stayed mostly for the pit action ahead.

Admittedly Sabaton is one of my favorite bands for power metal, but they have slipped off my radar of late as falling slightly short of greatness and irking toward the complacency in their later material. I cite here some lackluster/less memorable material of late, some ridiculous rhyming schemes (“Verdun” and “Soldier of Heaven” being particularly grim). However, based on this fantastic performance it was more than enough for me to get back aboard ship and fight once again alongside this mighty band of metal warriors once more. [8/10]

Album review: Tyrannus – Unslayable

It may have been quite some time since I witnessed this act in the flesh and obtained this album, but it is only recently that this release finally left my musical rotation. There is a good reason for this. Garnering many repeated listens from me, this album was one that just kept me hooking back for more, and let me tell you why.

Tyrannus, the notoriously antifascist black metal horde, begins their reign of terror with their first bloodthirsty release: the debut album “Unslayable,” a grasping opus that showcases the band’s unyielding ferocity and unapologetic devotion to the far left side of the black metal arts. With their pivotal musicianship and darkly captivating atmosphere, Tyrannus solidifies their place among Scotland’s formidable extreme metal scene.

From the very first track, the haunting and crystalline intro “A Cruel Dream” breaking in the first early darkness of “A Worse Reality” establishes a menacing atmosphere, weaving a tapestry of haunting melodies and relentless technical drumming by Ashenspire skin man Alasdair Dunn. The production instantly hits with its crisp sound, allowing each instrument to shine with a raw yet balanced mix. The guitars unleash a barrage of razor-sharp riffs, intertwining atmospheric passages with dissonant chords, and black-thrash nodding havoc that captures the essence of black metal’s chilling classics.

One of the standout elements of this album, besides the musicianship, is the impressive vocal performance. The guttural growls and shrieks by frontman and lead shredder, Callum John are as vicious as they are a nod to his previous efforts in the realms of old-school death metal. Perfectly complementing the music’s sinister tone, his delivery is filled with malevolence, delivering the lyrical themes of Lovecraftian horrors mixed with anti-capitalist scorn, and antifascist intentions with unwavering conviction.

The album boasts a diverse range of tracks, each with its own unique identity. “It Taketh” features blistering speed and relentless aggression, while “Light the Last Sun” unveils a slower, ambient-laden side of Tyrannus, demonstrating their ability to create an oppressive atmosphere without sacrificing intensity. The melodic sensibilities showcased in the title track and closer “Break the Will of Evil” add an additional layer of complexity and memorability to the album.

While “Unslayable” triumphs in many aspects, some moments could benefit from further exploration and variation. While the band excels at creating cohesive and brutal soundscapes, occasional diversions into more experimental territories could have yielded an additional layer of depth to the overall experience. Nevertheless, “Unslayable” is a testament to Tyrannus‘ dedication to the blackened metal crafts. The album showcases their unyielding determination to stay true to the genre’s roots while infusing it with their own distinctive ethics and style.

In conclusion, “Unslayable” is a powerful testament to Tyrannus‘ prowess as a black metal force to be reckoned with. With their bone-chilling atmosphere, relentless aggression, and unwavering commitment to their own goals. The album is a highly recommended listen for any fan of extreme metal as Tyrannus takes you on a harrowing sonic journey that is nothing short of compelling. All hail the new tyrants. [8/10] facebook.com/TyrannusEtImperium

GIG REVIEW: M2TM: Scotland 2023 – Dundee Semi-final

https://www.facebook.com/events/530967099101860

Bands: Grufus, Volcano X, Oceans On Fire, Puppy Kickers

The final gig of my me(n)tal March (my busiest month for gigs ever!) has me returning to where it all started, and back to Dundee’s Beat Generator for the next round of the M2TM competition. Here once again we have 4 hopeful acts return to make battle again and gain their place in the grand final and possibly onwards to Bloodstock‘s stages. With another very familiar-looking line-up, this round looks tighter than ever. This was another show not to be missed by the local scene.

Firstly before I could even get into the building and up to the Beat Gen I had already had a brief introduction to the opening act, as some disturbing-sounding gruff singing was wafting down the street as I approached. Although not pleasant by any means, the ugly singing did give me a clue who was on, but it wasn’t until I saw the weird costumed figures on stage that I truly knew. Oddball mixture Grufus was the first band to play to a semi-circle of a crowd. My first introduction to them was exactly 1 year before at the same competition and stage this had all the hallmarks of a deja vu moment but without the existential dread. This time around the weird off-putting mixture was not connecting for me despite how well it was presented.

This dual vocal off-shoot of H8teball is always memorable from their costumes and juxtaposition playing mostly harmless alt-rock/ska punk to punk metal level tunes with a larger-than-life attitude akin to a Juggalo jam band of sorts. With the two masked and costumed singers huge characters playing off each other gave an effortless amusing spectacle between the songs while the music flowed in an unimpeded stream of mildly heavy bouncy bopping tracks. Grufus always strikes me as a party-metal act who can raise the roof in the right places. Alas here, possibly due to the dreaded “first band effect” their impact was greatly reduced on this night. As great as their material sounds, it still hurts to see them apparently flounder despite their best efforts and admirable songwriting capabilities. [6/10] facebook.com/grufusmusic

Next up was the very familiar Volcano X who utilized the slightly extended stage for added impact as the band, full of energy did their best to project a soul of steel into the much closer crowd. Consummate performers it was not long before their catchy well-rehearsed and road-tested tunes found their mark with usual wallop and coordination. All of their usual elements are in place as always. The searing licks, the twin guitar harmonies, the glorious high vocals, the thunderous drums, and the galloping pace. All on top form and as clean and as tight as they can make it.

With very limited room for improvement, this classic Volcano X set was another victory in short order with my only criticisms stemming most from seeing these guys so many times at this point. So much of what I see (the poses and gestures by Johnny Steel) and hear (the mostly predictable setlist) has been slightly watered down by repetition. Despite this, Volcano the 10th is still a must-see for me as they bring the Power of Metal to everyone, every time, with this show being no exception. Easily earning a high placement on the scoreboard, they even left the crowd in want with a shorter-than-normal setlist. Fantastic as expected! [8/10] facebook.com/volcanoxmetal

Losing out on a place in the next round, last time due in part to terrible sound engineering, Oceans on Fire still scored higher enough for wildcard position here and it was evident that they did not want to lose out on the second try. Beginning in earnest the brutality began from their first track as they blasted out their signature take on metalcore cross-bred with deathcore with instant heavy results. This time there were no issues with the sound quality, if anything this is the strongest I’ve heard this slick band sound. Ultra-crisp and clear guitar djenting stutters crashed full on with powerful leads and technical drumming. Cementing themselves as the hardest and heaviest band on the bill their brutish frontman quickly got up close and personal with the crowd by coming off stage and into the audience inspiring the mosh ready to start to pit.

Their sound, rooted in heavy-hardcore was an easy sell to the herd as the tracks hit the right balance between mosh for its own sake and purposefully catchy, particularly when their cleaner singing comes into effect. Sharp and slick the riffs of the band are not the most inventive but functional to their method of raising hell in pits, including a few thrashier sections but sooner or later it circles back to another djent-like breakdown signaled by laptop noises. Another feature of note is their use of negative space before the final slamming breakdown. Running silent for a second too long made a few believe the end of the song prematurely, a cool method but perhaps overused here to some confusion.

Overall Oceans on Fire did themselves proud here with a super-memorable set that edged them closer than before to victory. This is what we should have gotten much sooner: a professional, well-equipped band that is ready to hit the next level. [8/10] facebook.com/oceansonfireuk/

The final band of the evening traveled the furthest to get here. Inverness’s Puppy Kickers had a different end goal for their very young project. This band of teenagers seemed to treat the competition they had entered as just another gig and another occasion to play and get their controversial band name out there. Despite not playing to “win” as such, and despite the frightening talent of the acts before them this group achieved much more than they were expecting. Although timid on stage in terms of presence, this act more than made up for this inexperience with some cracking tunes and interesting fusions.

Producing a sound best described as avantgarde this 4-piece brings forth something fairly unique that mixes together grindcore-styled vocals with off-kilter and at times chaotic riffs that go anywhere between punk to funk and back-to-death metal within the same track. Their weird bass lines played in sliding notes up and down the neck, before popping and slapping into funky polkas was fascinating to watch. This is while the progressive-edged guitarist skillfully pattered a flexible tapestry that did not shirk away from fury and melodic flames. Inspiring some more activity in the pit it seemed that the un-facebook-able named band before them won a few followers. Mission accomplished. [7/10] soundcloud.com/user-991972701-525758475

And the Winner is…… Volcano X once again triumphs and proceeds to the grand final!

GIG REVIEW: Darvaza + Nahemia | Necrocracy @ Audio – Glasgow

https://www.facebook.com/events/551036446417236

Bands: Darvaza, Nahemia, Necrocracy

So far in my me(n)tal March I have had fuck heavy grindcore in Glasgow, followed by fuck heavy stoner metal back in Dundee, and now in a return back to Glasgow it was black metal’s turn with this unusual gig in the Audio. Presented through Cult Of Parthenope, this cult show brings 3 distinct black metal acts to the underground masses collected in the darkest parts of Glasgow.

Starting with Glasgow’s home talents in Necrocracy, who quickly unleashed the fury with an inferno of blasts and pitch-black tones. The maelstrom of sound coming from the trio signaled a band of “no compromise” as their extremely relentless tracks blazed long paths of unceasing blasting and buzzsaw riffs. This is the closed I have seen live of being war/bestial black metal as their deathened riffs threatened and bulldozed away any semblance of melody and accessibility. This was a raw hardline listen as the showers of full-speed black never seemed to break tempo for long before it was back again to punish you further.

Adding another bestial layer to the chaotic display, the gurgling death metal vocal style of their newest member whose mangled deep growls implied an old-school death metal touch with longer-held screams and scraping rumbles. Suffering slightly from “brutality fatigue” over the set, their lack of dynamics and constant pedal-to-the-floor excesses did begin to seep in by their last track. Despite this, overall the furious display of black/death metal opening round certainly started the night on a high note and on an extremely tight and heavy foundation. [7/10]

The next band, Nahemia from Poland went straight for the Krieg with their traditional pure-blood stance of black metal. Complete when many of the cringe-inducing tropes of the style, this band of Poles went quickly into hell-raising, devil-worshiping mode instantly as dictated by their savage sawtooth riffs and corpse-painted faces dictated. A grim and frost-bitten sound was produced complete with unrelenting blast beats and claw-gesturing gloomy tremolo riffage. Despite some of the cliches involved, the faithful dedication to their kraft has paid dividends in terms of making for a memorable experience. The songcraft here clearly demonstrates a keen ear for what makes the black side so appealing and channels the essential dynamic edge that many in their class lack.

It seems as though a lot of their edge was centered on the theatrical side of the genre as the shrieking, power-tripping, dagger-wielding, topless singer had all the movements down. The classic poses and routines on stage were all present with an ultra-evil look and demeanor. Though overdone to death at this stage, the poses did succeed in creating the hellish atmosphere they were looking for as vocalist Rimmon ripped to shreds a Bible and a Quran on stage. It was a very cheesy move, but at least it was equal-opportunity blasphemy. I get the impression though that the other musicians in the band do see the fun side to all these theatrics and take a lot of it with a sense of irony. Knowingly leaning into these trappings of the genre with any seriousness these days would be laughable in today’s world but in the darkness of the Audio and under the guidance of Nahemia you can easily forget yourself and find yourself in 90’s Norway’s true shores. Keep raising those invisible oranges high! [8/10] facebook.com/OfficialNahemiA

With the night drawing in, the last taste of black metal was due in the form of Darvaza, an international act. Originally a studio-only duo of Omega (from Italy) and Wraath (from Norway) they have since expanded the project into a touring outfit. Helping spread their disease to further audiences this touring band version of the project is a super experienced group of hell raisers that live and bleed black metal in all that they do and this was obvious at this gig. The studio material for this band is much more than the standard black metal fodder of the scene as their epic take on black metal edges close to progressive territories in its execution. While on stage they present a much more straightforward take on the style. Here, we were greeted with a compelling razor-edged style of spikey black metal complete with grim and eye-gouging brutality in speedily precise attacks. With a keen sense for mechanics, the raw and bloody songs here grapple intense blast-fest sections with mid-paced groovy black-n-roll style passages that all concisely connect with one’s blackened heart.

Tying the sound all together is the commanding vocalist whose hell-biker appearance made for a much more intimidating presence than any posing corpsepainter can ever do with the grimmest of postures, with a vocal sound to match. Producing a terrifying array of foul shrieks, shrill screams, and dark growls easily conveyed a tortured, angry spirit within. The other members of the band were notably much more mobile and involved compared to all the other bands seen so far as (particularly the bassist) was not afraid to get up close to the crowd and engage with the baying mob before him. His dirty and springing grasp of the bass, too, made an impact with some bass-driven passages shining a dark light on his talents in thunder. While at the back it was near impossible not to be impressed with the extreme and oppressive battery being produced from the back as the drummer skipped from icy bell tones to hellfire malevolent blasts in relative swift ease.

Darvaza is one of those prime examples of bands in disgusting harmony with themselves and the style they are presenting to begin to transcend their boundaries. Producing an almost flawless set of black metal classics to satisfy anyone’s kriegest desires for at least one evening. Overall this felt like another stiff peak in quality for me(n)tal march as I left this show fully satisfied for metal for that day. [8/10] facebook.com/Darvaza.blackmetal

GIG REVIEW: Melted Bong Tour 2023 Dundee – Melted Messiah / Acidsaurus Bong / Indica / Kurnel Fist

https://www.facebook.com/events/881566256606513/

Band: Kurnel Fist, Indica, Acidsaurus Bong, Melted Messiah

After catching one of the heaviest shows I have covered in quite some time in Glasgow with the legendary Napalm Death, it was time again to catch possibly the heaviest local shows so far as me(n)tal march marches onwards. This show is heavy in a far different sense of the word. Dundee’s Rad Apples basement has rarely heard danks of this magnitude applied into their tight space as the stoner-based bill quickly unleashed the madness in stranger and stranger forms.

Starting off in the most straightforward branch of the formula was the stoner metal trio Kurnel Fist. These desert scene aficionados know good jams and how to produce many of their own as they showered out a fuzzy heavy blues rock full of searing licks and deep grooves. With bongfuls of attitude and hazy confidence, the matted and intense vibes penetrated fully with an unavoidable rumble and trippy vibrations. Also overwhelming at points the intensity of the bass riffs and epic-length jams kept the room occupied in swaying waves of buzzing mind-melting sessions. Here like in the M2TM performance their emphasis seems to push them more and more into spacey ambient pieces between heavy walloping fuzz-drenched book ends creating strong impressions of their talents. Overall the tight 3-piece in Kurnel Fist has ground out another strong and confident display of stoner rock’s best maneuvers excellently adapted through their own stylish nature. [8/10] facebook.com/kurnelfist

Next band up in the tiny space was long-runners Indica who blended and bent the stoner formula further by injecting their own unique flourishes. Their top-line groove-filled riffs lead the way into their sound with intricate Tool-like progressive leanings played through their adaptive power chords. Creating a unique blend of influenced sounds that stay firmly rooted in the reefer-rock territory. Where they really stretch and mutate the recipe is the vocals delivery by the bassist, whose influences are far away from the desert reaches. With echoes of a post-punk spirit within and a cheeky grunge aesthetic, some of their tracks were an unsteady trip into the bizarre for the style but interesting and worked well together.

With a lengthier feeling set and a less heavy tripping style at times, some of their meandering routes took a while to find their path and hook in the listener but when it all connected it was very rewarding. Despite some stifled yawns, the room was notably transfixed by their relentless boogie and musical magic. [7/10] indica.bandcamp.com/album/-

Out-of-towners Acidsaurus Bong from Edinburgh, up next, takes the next step into the strange with their unique sound and appearance. This dinosaur-obsessed 3-piece quickly changed the vibe of the basement by washing the room in strong green lights and adorning mics in dinosaur skulls and decorations. The band will be the first to tell you how much they like “green” in all its forms they kept the smoker’s delight vibes going from the instant they fired up the tunes. By a Jurassic margin, the power trio were the heaviest act on the stage so far with gargantuan heavy grooves filling the air like the emerald lights they use. This might be mostly due to their thick bass thunder-fuzz style riffs and their unhealthy levels of sludge influence in their sound. As heavy as the kaiju Bongzilla coming ashore to wreck Dundee they rippled monstrous waves of harsh fuzz in thick pulses of downward-facing sludge metal dirges.

Taking cues from Bongzilla, and many other “Bong-” prefixed bands their need for the weed was undeniable as the phlegm coated dirty, and raspy vocal tones scraped the eardrums. Making it clear they were staying clear from the accessible sound of what came before and smothered the room in a dense dank daze of dark and doom-like dirges. Powered by a steady and methodical drum work the back-bone rhythm section kept pounding and battering unstoppably direct and dynamic allowing the guitars to weave classic leads and psychedelic solos between the stomp-heavy riffs and Cretaceous grooves. Marvelous! [8/10] facebook.com/acidsaurusbong

The final band of the rapidly deepening night was the oddest band of the bunch, the bizarre duo in Melted Messiah who have been consistently melting sub-genres together into unholy forms. Fusing together the harsh dissonance of primeval black metal with the reefer madness of the psychedelic edges of stoner metal plus much more. Even the concept of even trying to blend these opposing styles together boggles the mind and feels almost like an incompatible task. But Melted Messiah did more than make it work, they excelled at the task.

Providing more than “Some good riffs” as their self-deprecatingly 2nd album is titled, the duo quickly set out a ruckus of their own design. Fronted by a corpse-painted, and extra spikey-arm-band-clan madman, the guitarist and vocalist’s image is striking all on its own never mind his outlandish playing style. Playing pick-less and messily in what looks like a very sloppy and sludgy style, the noise blasting through a mass of dirty-sounding pedals the riffage here was uniquely fitting to their bizarre fusion. The icy black metal tones seem to compliment the bounce of their groove-filled movements and the aching dissonance of the colliding styles. The vocals were also a full-on experience, combining a raspy gurgle and growl with a melodic emotional edge to the calmer passages while dredging a deeper register. The back end of the 2-man outfit was the workhorse of the act, the charismatic drumming. The beast behind the kit jazz-inspired tones and taps made for a retro-edged vibe to the proceedings, as his acid rock and proto-extreme metal style kept the crowd on tenterhooks as his shuffling beats evolved before your ears. Eagerly pleasing the room MM quickly had the audience grasped tightly into their vivid journey to the bizarre.

It is rather infuriating that I can travel far afield and catch 100% of a show but when I come to a Dundee show I have to leave early and sacrifice seeing the last band full set if I want to sleep in my own bed. This was another such gig where I was shafted by train times and had to leave embarrassingly early into Melted Messiah‘s still warming-up set. From what I did hear and see it’s no wonder I have seen so many Melted Messiah merch far and wide on my gig travels as their odd-ball textures, unique stylings, and savage presence are always a brutally entertaining experience, that never skips on memorability and excitement. [8/10] facebook.com/MeltedMessiah

GIG REVIEW: Campaign For Musical Destruction Tour: Napalm Death + Siberian Meat Grinder + DropDead | Glasgow

https://www.facebook.com/events/1469681433408454

Bands: Escuela Grind, Siberian Meat Grinder, Dropdead, Napalm Death

Me(n)tal March continued with my next gig less than a week days later and on the other coast as I covered the legendary Napalm Death in the Classic Grand in Glasgow. In the heaviest show of the year so far it was time to get extreme with the long-awaited return of ND to the city of violence once more.

Beginning the night’s joys in a notably violent manner, upstate New Yorker’s Escuela Grind was very quick to bring the brutality to bear on the room’s still filling in with punters. Their extreme sound is at its heart perhaps closer to NYHC-ready than most on the bill as their heavy stomping style of grindcore blends in a deathcore ferocity to their beatdown dynamics. Tightly strung together the set of fast and brief songs was crammed with quick and sharp riffs and deeply destructive tempos as they jarringly slash from pure grindcore through to power violence with ease and a distinctly tough-guy/gal attitude.

With front lady Katerina Economou’s impressive pipes on full blast, and through her manic and extremely energetic stage presence it was clear that she was the main attraction to most watching as her short stature projected a much fiercer spirit within through her commanding grunts and shouts. But it clearly wasn’t a one-woman show as backing her was a talented multi-gendered team of musicians whose skills and combined talents were not wasted on the crowd, notable was the exhausting yet seeming effortless barrages of blasts coming from the kit of Jesse Fuentes (ex-Kill the Client) while remaining composed and tightly controlled. Overall Escuela Grind brought in the night’s sonic roughness with gusto through a stunning set of brutality that stayed true to their ethics and attitude that was all their own. [8/10]


Next and coming from the other side of the new cold war was the Siberian Meat Grinder, an ursine-obsessed thrasher act from the darkest Russian wilderness. Quickly getting the crowd fired up into the first of many constant pits of the night, this mental group of exiles seemed to know exactly what was needed to inject adrenaline into the crowd. Which was riff after furious riff of face-melting crossover worship that set the animal brain into circle pit mode. Although not the most memorable of riff-writers the way these particular simple yet effective slabs were laid down made for a feast for the pit-hungry.

However, the band is not just for the ear and thrashing limbs, they have a bizarre image to accompany the madness in front of them in the form of the bear-masked front man/медведь irresistible stage-patter and wrestling style kayfabe personality. Preaching to the choir a gospel of broken English and faux-devotional speeches that urge all to praise (or beware of) the Russian bear. Although most kept their praises in the form of furious moshing and frantic pitting. Overall SMG‘s main achievement here was to break the thick Siberian ice that forms around mosh pits and pollute the waters with an energetic/irradiated mixture that kept its momentum for the rest of the night. браво тебе [7/10]

The next band, Dropdead takes us back to the other side of the Iron Curtain and to Providence, Rhode Island, while also transporting us back to more primitive times. To the harsh roots era of hardcore punk, crust, and power violence with their uncompromising style and ethic. Dropdead who have very seldomly ever played the UK (I believe this is their second time in Scotland since 1995) was an exceptionally rare treat in more ways than one. Not only was their brutally violent hardcore on point, with the perfect blend of speed, bulk, and blasts that crescendo into concise 2-minute hurricanes. Their mesmerizing display of songs is what hardcore should always be in its purest form, combined with an excellent forward-thinking philosophy and strong ethical core.

The whole band espousing the need to challenge power structures and preach the virtues of veganism really captured that instincts in the room perfectly. With impassioned calls to action and heartfelt appeals to reason and humanity that even made me question my carnivorous ways. The frontman Bob Otis‘s natural command and powerful voice echo the best ideals of character in a room that can look to outsiders as “pure chaos” as the jostling and now crowd-surfing mania of a swarming moshing floor quickly reigned anarchy and bloodshed. Looking out for his fellow man, he did command a sudden halting of the music as he eyed the security being a little too rough with one of the punters just highlights his character and stance further.

What else can I really say more about this veteran act? All parts of this machine brought nothing but immense joy to the ears and soul. From the furious blasting and d-beating of the drums to the crusty engorged bass tones to the razor-sharp riffs, to the brutal animalistic vocals, to the concise to-the-point incensed songs. All made for a set that seemed almost impossible to match or forget. Amazing! [9/10]


On to the main event, the mythical Napalm Death. A band that needs no introduction from me, but I feel like I need to give my own context on the mission I had to finally properly witness this band. This was technically my 3rd time witnessing Napalm Death, the first being in the pissing rain of Download 2016 which was a soured experience due to almost getting trench foot over the weekend. This however strengthened my resolve to make sure I see the Death again in a better environment. That opportunity came in 2021 at Bloodstock (see here) however that time around it was the last band on of a very long day of metal. My stamina appeared to not be what it used to be resulting in me leaving for my tent before they had done as my brain was barely functional at that point. So onward to 3rd time lucky. Originally I purchased my ticket back when Doom and Show Me The Body was still on the bill, and before it was shunted back a year due to logistics. So my excitement for this show was palpable in the days running up to finally being here.

That’s when disaster seems to strike and jeopardize the experience, Barney Greenway the extremely frenzied vocalist of the group, just days before had injured his ankle on stage in Germany meaning he has been forced to do the rest of the tour sitting down. This made for a tamer visual experience than usual as the normally highly mobile Barney was restrained to just jittering and spasming on a chair the whole set instead of his normal range of movements. This clearly was a frustration for him as his violent roaring vocals seemed to come with an extra bite and volume. Another evident missing feature was the long-running member Shane Embury not being present either due to unknown reasons. Replaced with stand-in Matt Sheridan (of Pro-Pain as well as current live bassist for Siberian Meat Grinder) who easily matched Shane‘s dark tones and furious playing style with a more youthful vigor. Although not matching in Bulk on stage he certainly achieved the same impact as the larger man he was substituting for in his personality and skillful playing.

With the tangible excitement in the room reaching its peak here, it seemed like the pit never died from the last band but only got more violent and intense as the mighty ND cranked out extreme sounds of obliteration, covering a huge range of their material. Playing cuts from their latest album as bookends to their classic material and interspersed with occasional political commentary the setlist was long and extensively intense covering fan favorite after beloved highlight such as “Suffer the Children” alongside tracks like “Scum” and many more tracks that are banished from utopia. All this made for extremely intense and chaotic scenes as more and more crowd surfers tangled the airways and the pit warriors bounced and bashed in an ever-widening space. It was here, once again, that I lost my footwear in the maelstrom. Hilariously while I tried to reclaim my shoe at the barriers (as one had already been retrieved by someone else) the security mistakenly disarmed me of the other shoe I was carrying. Leaving me extremely vulnerable to having my toes shattered as I had to wait after another track to reapproach the barrier and reclaim my shoes. This is where I was thankful for the brevity of some Napalm Death tracks. Although it wasn’t the micro song “You suffer” (which did get played) the minute or two of a wait felt long enough for precariously exposed pinkies and I was glad to retrieve them some cover.

However, it was not long before I was again back into the fray of the pit once more, powered on adrenaline and frantic blast beats it was irresistible to stay out of the pit for too long as the mental death grind hits kept on coming on into the night. Napalm Death truly lived up to their reputations here and was well worth the long wait for me to finally see them in the full untarnished glory of a full uninterrupted set. Long Live the Death [9/10]

GIG REVIEW: Cockney Rejects

https://www.facebook.com/events/695756098181143

Bands: The Eddies, Cockney Rejects

What I would begin to call “Me(n)tal March” certainly did not start on the most metal footing with this show in the Beat Generator kicking off what would become a very gig-intensive month. With the headliner act being only distantly related to heavy metal, with a primary guilt-by-association link and a brief flirtation with NWOBHM with their album “Lethal” the Cockney Rejects came onto my radar as a curiosity. With their final tour my time was running out on seeing the aging Oi!-punk inventors in the flesh but first… some poetry.

No, really. After arriving at the sight of a football game being played on a big screen, (another first for me to see at a gig) the first sign of life from the stage was the appearance of self-styled “street poet” Gary Robertson to give us a reading a few of his poems to a growing crowd of folk. Performing in the local, near-indecipherable to anyone, not fae Dundee, the dialect of oary Dundonian. The poems he read and mostly remembered covered a few different topics from the population of Dundee, to anecdotes from school days through the culture and past, all gloriously working class and distinctly punk in attitude. Getting a few laughs, his skillful use of the language was delightfully amusing and warmed up the quickly filling room of old punkers.

The First and only support band was local punk heroes, The Eddies whose energetic sound was quickly lapped up by a crowd that made me feel youthful as they powered off a powerhouse of ragged punk party starters. With a fierce and no-nonsense spirit, the shouted turbulent vocals of this act crossed a few lines and styles. Melding melodic speedy punk riffs, with the brash and boisterous Oi! attitude and voice. The combinations invented on stage may not be of anything groundbreaking but they were certainly refreshing. Add a pinch of metal with a few wild solos, and there was more than meets the ear to this band’s keen combination and catchy tunes. [7/10] theeddiesuk.bandcamp.com

With the crowd eagerly warmed up and raring to go the next music was once again an unadvertised return of Gary Robertson this time to introduce the Cockney Rejects to the sound of bagpipes. This little ditty was again warmly received as it hints at Gary’s day job as the lead man and piper in the Celtic punk outfit The Cundeez. With a well-connected punk scene in the city, the older generation of punkers in the room roared out appreciation as the Rejects finally made the way to the stage to play. A later start than expected, this old-school original generation band is an act not known to disappoint especially on what feels like home turf. Having returned to Dundee on a number of occasions already in their lengthy stint, the familiarity evident from the interactions of front-geezer Jeff Geggus made a very humble night of bopping shouty tunes.

Their song’s impact seems to be instantly rewarded by the crowd in its jostling movements and bouncing revelry as their gritty London-accented brand of punk seems to extrude energy and attitude. Even though I had not really invested too much into their punk side, I could not help but bounce and shout along in my garbled voice, as they played their early hits. The Footie anthem “We Are the Firm” alluded back to the start of the night with another team in maroon the theme, adding a strong hooliganism theme to the night while songs like “The Power and the Glory” made the hair shorten with its grunt and foil. Sadly though, as much as I loved the vibes and ruckus atmosphere the later start meant another gig was cut short due to transport. Having to leave way earlier into their set I can still say I had an awesome time with these Cockney Rejects even if it was not the whole dose. With this act only quitting touring and with plans to still write and record more music, I hope I get another chance to cross paths with them in the future. [8/10]

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

https://www.facebook.com/events/732156598122928

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

https://www.facebook.com/events/719685049310523

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

https://www.facebook.com/events/522868613146068

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