(The UK-Ireland Tour of Meshuggah and The Haunted rolled through Nottingham, England, on the night of January 14, 2017, and our man Andy Synn was there — and files this report, with video evidence.)
Why do we go see live music? That’s a question which I’ve been pondering, cogitating on, and generally wondering about for many, many years.
After all, in one sense all that’s going to happen is that we’re going to hear some songs we already know, played with (potentially) more mistakes, in a venue where the sound quality is always a question mark, whilst packed in cheek-to-jowl with a plethora of ne’er-do-wells of dubious morality and questionable personal hygiene.
But, often when we go to see a band and they play TOO perfectly… the reaction is generally just as bad as if they’d played terribly. So it’s clearly not just a case of going to see a band to watch them reproduce the music from their albums wholesale.
I don’t have an answer to that question above by the way, it’s just something that’s been on my mind for a while. If you think about it, the whole process of going to see live music is a little odd after all.
Though I suppose if you think about anything too much it starts to seem a little weird.
(Our man in the UK, Andy Synn, attended Damnation Festival 2016 in Leeds on November 5, and provides this report along with videos he made.)
Oh Damnation Festival how do I love thee? Let me count the ways…
Whereas too many other events seem content to book the same big-name crowd-pleasers, year in and year out, buttressed by an interchangeable selection of generic sound-alikes and contrived gimmicks – all carefully selected purely for their mundane mass-appeal – the Damnation team seem to operate on an unwavering ethos of only booking the bands they truly like, bands (big and small) that they truly believe in, who have something unique or special to offer.
This is how every edition of the festival features an array of bands from multiple different styles, from Death to Prog to Doom to Hardcore to Sludge (and beyond), from across the length and breadth of the underground Metal scene coexisting under one roof and why, over the years, Damnation has seen everyone from Ahab to Asphyx, Carcass to Katatonia, Mono to My Dying Bride, playing to the sort of packed crowds that are a regular occurrence in Europe, but which only rarely seem to be achievable here in the UK.
This helps make Damnation Festival’s line-up a much more interesting affair than many of their peers, as the organisers seem to operate on the principal of “if you build it, they will come”, putting their faith in the belief that the UK scene doesn’t just want to be fed the same old bands and the same old performances, time and time again. And this year was no different, with a wide variety of different acts, of different styles, on display, coupled with a bunch of exclusive performances which practically justified the ticket price on their own!
(Andy Synn reviews the performances of Mithras and Rannoch in London on October 31, 2016, and includes some of the videos he made.)
One of my favourite things about being in a band (though, to be fair, there are lots of things I love about it) is the chance it affords me to play shows with bands that I love. Over the years I’ve been lucky enough to go out on tour with bands like The Monolith Deathcult and Becoming The Archetype, and perform alongside such stupendous acts as Darkane, Abigail Williams, and Skeletonwitch (to name but a few).
And the thing is, although I still have a hefty list of bands I’d love to support or go on tour with (Living Sacrifice, Blood Red Throne, A Hill To Die Upon, Sanzu, Extol, some Swedish group called Meshuggah…), I’m happy to report that I recently got to tick off another big milestone when we opened for the mighty, mighty bosst… Mithras!
(Andy Synn turns in this review of the live performances by Obscura, Revocation, Beyond Creation, and Rivers of Nihil in Sheffield, England, on October 24, 2016 — along with videos of the performances.)
Our readers in the UK who play guitar or bass will probably have noticed something rather peculiar over the last couple of days. Riffs that they used to be able to play turning into a mangled, lumpen soup of glitches and errors… Fluid solos that they used to rip out with ease skittering away from stumbling fingers… even, in the most extreme cases, a complete inability to even lift their instrument anymore, as if they were no longer “worthy” to wield its power.
And I know why.
You see on Monday night I was there when Obscura, Revocation, Beyond Creation, and Rivers of Nihil selfishly used-up the entire country’s supply of notes and riffs, leading to a crisis of near biblical proportions amongst the string-slinging section of the UK metal community.
Thankfully, however, I’ve been informed that a fresh shipment is being piped in from the mainland, and so normal proceedings should be resumed by the weekend or thereabouts.
Monday morning, Oakland waterfront
This wraps up our coverage of the second installment of CALIFORNIA DEATHFEST, which took place from October 14-16, 2016, in Oakland, California. As was true of my posts on Day One and Day Two, I haven’t written fulsome reviews of the performances I saw on the final day, though this time I have included a few more impressions than in the earlier installments — but I’ve once again included photos and videos I made using my iPhone.
Yes, this is a half-assed way to document a festival compared to what you will probably see from a few of the more well-healed metal publications out there who employed professional photographers and videographers. However, because “Half-Assed” is in fact my middle name, I’m being true to myself.
I started this Sunday morning in Oakland earlier than I would have liked, but it had its compensations. Grabbing coffee and my smokes, I sat for nearly an hour along the Oakland waterfront enjoying the peacefulness of it, with no one else around except a hopeful seagull and a swooping flock of starlings.
Yesterday was not peaceful, but it was electrifying. It was the second day of this year’s edition of California Deathfest. Between a late lunch, a dinner break, and my inability to physically make it to the bitter end, I only caught about two-thirds of the 12 bands on the line-up. And as was true of yesterday’s write-up on Day One, I’m not going to take the time to write reviews of the performances. Instead, here’s what I’ve done:
I’m in Oakland, California, this weekend for the second edition of California Deathfest, which began yesterday afternoon (Friday, October 14, 2016) and continues through Sunday. The photo above captures one of the sights that greeted me this morning a few steps from our waterfront hotel. I’m here with my NCS comrades DGR and BadWolf and some other good Seattle friends, enjoying some mild and occasionally drizzly weather while Seattle is getting beat to hell by a weekend windstorm. Sometimes it’s better to be lucky than good.
Usually when I go to metal festivals I take lots of photos (and more recently videos) and try to write up reports on the performances for the site. This time, before leaving for Oakland, I decided not to do that. I decided I would just devote myself to watching the sets and talking with people and not worry about “work” for NCS. So far I’ve mostly kept to that resolution — but not entirely.
(Last year we were fortunate to bring you a report from Kaptain Carbon on the first annual Shadow Woods Metal Festival , and now we are fortunate to welcome him back with his report on the second edition of the festival, which took place on September 15-18, 2016, in the vicinity of White Hall, Maryland. He also took the photos that you’ll see in this post. Kaptain Carbon operates Tape Wyrm, a blog dedicated to current and lesser-known heavy metal. He also writes Dungeon Synth reviews over at Hollywood Metal as well as moderating Reddit’s r/metal community.)
The Shadow Woods’ second event is an important step for a festival still attempting to set its roots and find an identity. Held in the woods of upper county Baltimore, Shadow Woods caters to a diverse array of acts, but with a concentration on extreme metal. With a festival’s life this young, its future is always in jeopardy and dependent on press, attendance, and overall happiness of its guests. There was some speculation and conjecture whether or not Shadow Woods would even have a second gathering. This was further jeopardized with the ongoing drama of alcohol licensing and the looming calculations of cost versus return.
By the time the campfire of the second night was winding down and shrieks were heard throughout the woods, immediately swallowed by hideous laughter, the number of people who attended this year were convinced that this may be a thing to do every year.
This is a recap of the third and final day of the first edition of Migration Fest, organized by 20 Buck Spin and Gilead Media and conducted in Olympia, Washington, on August 12-14, 2016. My recap of the pre-fest show and Day One can be found here, and the Day Two write-up is here.
I’m not as prompt in concluding this review of the festival as I was with the first two parts, but other commitments to our putrid site plus inconsiderate intrusions by the routine of daily life have screwed with my time since I got back to Seattle on Monday. On the other hand, the delay enabled me to upload videos of Day Three performances to YouTube, and I’ve collected those at the end of this post. I still intend to add more videos to the other write-ups as well.
This is the second part of a three-part recap of the first Migration Fest in Olympia, Washington. For the first installment, covering the pre-fest show on August 11 and Day One on August 12, go here.
The first day of Migration Fest proved to be a very strong start to what I selfishly hope will become an annual tradition. If anything, Day Two topped it, in large part on the strength of a history-making performance by Saturday’s headliner — Panopticon — that was simply stunning.
At the end of this post I’ve embedded five videos from Panopticon’s 90-minute set, and I’ve got one video of Vastum in here, too. By tomorrow, I also plan to update this post (and yesterday’s recap of Day One) with videos of additional bands. For now, I’m including the best of my crappy cellphone photos, and some words of course.