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

https://www.facebook.com/events/780923109676136

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]

Album Review: Dog Tired – It Came from the Sun

Dog Tired discography Review Part III

Starting off in a beefier tone opener “Storm of hammers” that literally feels like a downpour of actual sledgehammers after the gentle building intro of “Reliquus”, Dog Tired opens their strongest album to date with a righteous set staple track. Quickly ramming into gear, the opening salvos here are more than enough to show that DT is staying their course and staying fuck-heavy.

The next album output of the Penicuik pack was released at a steady productive pace coming just 3 years from the last epic lp “Titan” and shares a lot of the same fire. Matching very closely in terms of sound and production. Album 3 takes the model from before and tweaks and refines its winning formula. With songwriting on this album being homed and fine-tuned onto the excellent hooking riffs and gargantuan grooves. Providing endless chugging and shuddering mosh pit battle anthems, the tracks here are best experienced live or in a group, as the energy and impact is built for clashing bodies and banging heads.

As per their normal high standard, the guitar work here (by Luke James) is the Dimebag Diamond measure with equal weight given between tension-heightening breaks, stomping grooves, and southern swelling solo/lead rips and tears. All are given a surprisingly sludgier coating and inject a measured thrash influence in the faster sections, with the vocals from Chris (combined with Lukes’s roars) sounding extra gritty and demonic as they pile out strong punchy vocal patterns.

With fan favourites on this record such as “Outpost 31” about the horror of the thing (1982) and others, Dog Tired here dominates the listener with hefty track after hefty track, grinding the listener to a pulp with unmistakable priority and passion. Unstoppable grooves and bulging riffage here are bolstered by frightening bass tones by Barry B and double-kick dominance of Keith completing the destruction. This all made the impression of a band confident of kicking asses on stage and experience in the studio. Here is how Luke described his memories of its recording:

We recorded it at Chamber studio with Graeme [Young] which is sadly now changing hands. We recorded the whole thing in a week then went straight into mixing. It got sent overseas to be mastered and the front cover was created by Christian Sloan Hall.

I remember spending a whole day on the title track “It came from the Sun”. Playing with multiple effects on the digitech pedal to make the whole thing sound mental.

It’s also the only Dog Tired album (so far) to have a grand piano recorded in “Spire of Dissonance”

The artwork again by Sloan Hall is my favourite Dog Tired cover and makes this an excellent companion piece to “Titan” with its visual connection and strong identity. While each record is at arm’s length of the other, this record stands out the most with its darker tone, more threatening attitude and dangerous flow. This is the peak Dog Tired album for me and the album I would firstly thrust into the hands of any metal fan interested in what Scottish metal sounds like. Strong, beefy and brutally heavy. [8/10]

GIG REVIEW: Machine Head – Electric Happy Hour (Live) | Dundee

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Bands: Machine Head

Out of all the local gigs I have been to since getting into the metal cult, I think I can safely say this is the biggest band I have ever seen in my home town. Definitely the biggest in my memory at the very least. The mighty popular metal giants Machine Head in a surprise move had chosen a few selected smaller city venues, to work as warm-up shows. Planning to iron out their stagecraft before setting off the main tour with Amon Amarth. The prospect of seeing two metal titans made me jump on these tickets like lightning.

I was, however, disappointed to learn late, that the gig would lack any support bands on the bill. This inclusion would be a huge boost to any local (or above) act’s career to be added to this line-up. The management/promo team really missed a great opportunity to help grow, enhance, and promote the scene further. The auspicious honour and badge would proudly be worn by any act lucky enough to get such a slot in the limelight. The very recent precedent of Brothers of metal fresh in my mind made the blow greater as the chance of the rare treat of an act punching above their weight is always, for me, greatly anticipated.

However, a 2-hour un-diluted set from one of today’s metal giants was not to be sniffed at. Admittedly not ever one of my favourite bands, Machine Head has nevertheless played an important part as a gateway act towards heavier music for me and many other metalheads. So there is respect where respect is due to the band that was about to blow out many ears very soon in the very busy Fat Sam’s club venue.

The venue was certainly not prepared to accept so many, so hairy metallers, quite so quickly into the normally chav-tastic and normie-based environment. It was here, while I was trying to attain some extortionately priced pints from a very unstaffed bar, the rumble started as Machine Head and hit the stage to roar and shouts as they kicked off their leg stretching set.

This A-tier act in terms of skills was pretty flawless in its execution of the riff, so here the dependent factor was going to song choice and charisma of the members that determined the score. They would live or die off the strength of their material or how familiar the crowd was with the dudes on stage and the noises they produced. Avoiding the pedestrian nu metal era material, the huge grooves and riffs smashed head-on like the many collisions in the pit in the swarming tight crowd. Quickly building a fantastic atmosphere with excellent cuts from their strongest groove-filled albums. The Blackening, back through to the essential Burn My Eyes song all seem to up the ante into bloodier and more furious crescendos.

Peaking for me at the “sound of a shotgun blast” as this all-time metal classic tune set the pitting area into a battleground as colliding armies smashed and shattered many. This is when disaster struck me. Landing poorly and twisted mid-moshpit I managed to dislocate my kneecap and had to graciously leave the show and seek comfort, rest and possibly medical attention outside.

In my absence, I seemed to have missed some key, memorable moments: such as the bassist, Jared MacEachern mounted the shoulders of one of the biggest dudes in the pit, while a circle pit surrounded him like an island in a sea of sweaty and hairy bodies. I also most regrettably missed the cover of Slayer‘s “South of Heaven” all this would have been phenomenal to be in the thick of, but sadly misfortune played its hand against me.

Part 2 of my night, as I remember eventually returning limping back into the fray. It was just as Machine Head was playing the stranger things famous Metallica cut “Master of Puppets” [RIP Eddie Munson]. The cynic in me would say this track was chosen for its popular culture clout and its newfound recognition rather than for its aesthetics as they cut the track short to jump back into more burn my eyes material.

The new material peppering the set from their latest album Of Kingdom and Crown was sadly forgettable in a set with so many classics though certainly heavy enough to keep the pits frantic and constant. As they dipped back into the older classics, my waning wounded spirit evaporated as I got back into the act and near the front to mosh once more in a lame shuffling bop and headbang. It was definitely a very bad idea to go crowd surfing, as my patella went awol once again mid-struggle above the heads of the front row.

Thankfully for my crippled body, the night was drawing to a close. After an impromptu rendition of “flower of Scotland” belted out from the drunken crowd, the bassist was presented with a thrown gift. A bra which he proudly modelled to the mob’s amusement. I think overall, Rob Flynn and Co were genuinely blown away by the sheer mania of the crowd, and the extremely friendly and aggressively warm welcome Dundee provided to them in shed loads.

Overall this was, one way or another going to be a memorable gig for me as the regrettable damage I’ve probably done to myself may linger for some time. While the madness of this show in the moving picture-show of memories will take much longer to fade. A crazy show proudly witnessed!

I hope if anything Machine Head and the venue learn the value of Scotland’s smaller metal cities, and encourage more big acts to follow suit and come to this town. I also hope venues and those with will and means take note of how viable and successful a metal show from bigger bands can be in this beautiful, crazy city of Dundee. [8/10]

GIG REVIEW: Gloryhammer | Glasgow

https://www.facebook.com/events/537303667991502

Bands: Gloryhammer, Brothers Of Metal, Arion

This might turn out to be my most controversial review so far based on a certain racist Elecunt in the room, who was thoroughly booed by the crowd, but I am getting ahead of myself. After certain leaks of very unfavourable conversations, my enjoyment of Gloryhammer has suffered greatly. As what had come to light is best described as very shitty “locker room talk” that belongs decades in the past at best and utterly condemnable hyper-racist misogyny at worst. But all this was revealed after less informed persons had already bought the tickets and organized my birthday treat. Buggered if I was let one witless Cockwomble ruin a good night of metal and mayhem.

So here I was inside the Garage Glasgow, pint in each hand as the first band Arion had already kicked off. Hampered partly by a particularly nasty sounding mix: the drums were way too high in the mix, and vocals too low and too blurry. However, their Finnish enthusiasm was captured greatly by the welcoming audience, as the numbered bobbing heads attest.

The sound of Arion is a contemporary meets classic twist on power metal. Combining the easy songwriting cues of the harder end of hard rock, the glory and speed of power metal gallop, and soaring vocals, with unexpected influences from elsewhere. Adding in occasional beatdown sections and thrashier potions made Arion a step ahead in an overpopulated startline. Bringing a sound I can believe might be why power metal is coming up and up in the world of metal.

Guitars here by Iivo Kaipainen gave the effective array of metallic bite, bash, and screaming solos to keep the speed high and the heavy chugs low, while keyboardist Arttu Vauhkonen‘s notable taps and tinkering added a strongly ivory-led sound akin to a Bodom-ist edge. Vocals by Lassi Vääränen had a Eurovision timbre in his songs and attitude but were clearly hindered by the poor mix.

Overall Arion made a good first impression providing some tasty yet cheap thrills and great music to get the room in the right mood. With the having most to gain from impressions in this tour they carried themselves on sturdy steads as they galloped into the night and into memory. [7/10] facebook.com/OfficialArion

Quick lazy joke out the way first: Brothers Of Metal should be called Siblings Of Metal as they have a female singer in their huge line-up, haha. What was presented on stage was no joke in terms of music chops that quickly were top-tier! Although they do have a great sense of humour and captured the mood perfectly as they focused on drinking, metal and most importantly the rivalry between Edinburgh and Glasgow for which will be the maddest crowd in Scotland on this tour. This encouraged the mob into a frenzy of mosh pits, jumps, and chants. Spurred on by their mascot the burly hype-man drinker Mats Nilsson whose prompts and banter got the party mood in full flow like the pints!

This horde of Swedes on stage is a fully-stocked war band including 8 members. The standard 5-man party is augmented with an additional guitarist (making a triple) and 3 vocalists. Including the Mats, the vocal arrangements were led by a man and wife pair (Joakim & Ylva Eriksson) providing both clean and unclean vocals and melodic singing. Singing songs of old Viking myths and legends, meads and heavy metal cast back toward Turisas in their words and costumes but injected with fresh blood and influence with heavier songs and youthful presentation.

The songs here were top-notch! From the melodic ballad “Yggdrasil” to the battle metal combat chanting of “Fire Blood and Steel” and the boozing bounce of “The Mead Song” all of their material had the essential elements to keep the crowd invested, singing along and extremely rowdy. As for the musicians, the material followed a folky vein that flowed into power metal and standard heavy metal with the right elements all present and precisely played but took a back seat to all the singers.

It is rare, but simply magical when it happens. When a support act steals the show it is always a memorable highlight of any gig. Leaving many sensing the night had already peaked, Brothers Of Metal not just stole the show here but raided, looted, and plundered the show like true heavy metal Vikings they are! [8/10] facebook.com/brothersofmetalofficial

Next up was the main act Gloryhammer who came out next to a still healthy reception in front of their Hoots banner, while the crowd chanted the same noise back to them. Kicking off into their setlist with their signature top-speed galloping pace. Sadly the setlist and stage antics have not really evolved in the 3rd visit with Gloryhammer I’ve had. As they used a lot of the same shtick all over again.

The same pants battle with goblin stage hands, the same actions, the same “Also Sprach Zarathustra” break. And the same if not near-similar tracklist (see here). The jokes and the theme seem to be growing thin, despite how batshit their lore is. The shouted “what is my name” intro before “Angus Mcfife“, leaving the crowd slightly confused as the original Angus Mcfife left (booted out) the band for (allegedly) leaking the despicable chatlogs. We were expecting to be introduced to someone new, and we kind of were but in muted guise. The singer Sozos Michael is an extremely capable vocalist who provided the range in high vocal extreme soars needed for this brand of power metal but here he seemed a touch unsure in his presentation and not quite as confident as he could be.

The tunes they played, bangers as they were, were completely overshadowed by madness happening in the pit, making me spill and soak many in beer, sweat, and possibly blood in the mayhem of crowd surfing nutters and pit assistant managers present. Not normally a fan of pitting to power metal as it’s not heavy enough music, but the malaise coming from the stage and predictable movements made me long for something better to do. Losing shoes in the process I pressed into pit, after pit, with some painful results.

Overall this set from Gloryhammer felt mostly soulless as if their members’ hearts were not in it as their motions are becoming mechanical and dulled in repetition. However, it still had a handful of great moments and epic tunes but their star has faded behind newer and fresher acts. [6/10]