(One of our loyal allies, Conchobar, had the good fortune to attend The Covenant Montreal festival on April 13-15, 2017, at La Salla Rossa, and was kind enough to share the following impressions of the event, along with his photos of the performances.)
“Ye Who sow discord, where are you? Ye who infuse hatred and propagate enmities, I conjure you by Him who hath created you for this ministry, to fulfil this work…”
Montreal is one of my favourite cities in this strange, fragmented nation of ours. After the calamity that befell the ill-fated Messe des Morts VI in November, we had an easy decision regarding a return trip after looking at the line-up for Covenant Montreal. Covenant has been active since 2015, the inner circle being composed of members of Auroch/Mitochondrion, Crooked Mouth, and other acts.
(Andy Synn attended the performance of Devin Townsend, Tesseract, and Leprous in Nottingham, England, on March 18th and files this report.)
Despite the fact that this site is called “No Clean Singing” we’re actually big fans of clean sung vocals here… well, in the right circumstances anyway.
No, the site’s moniker originally stemmed not from a blanket hatred of clean singing, but from Islander and co’s growing dissatisfaction with all the bands shoehorning clean vocals into their songs in a desperate attempt to appear more “accessible”, and therefore more marketable, at the cost of both their overall intensity and their underlying integrity.
I personally have a lot of love, and a lot of respect, for bands on the heavier end of the spectrum who are able to integrate and incorporate clean vocals into their sound in a way that feels totally natural. After all, it’s generally a lot more difficult to hold onto a melody and to hit all the right notes than it is to simply scream your lungs out atop a parade of blastbeats/breakdowns/bombastic riffs (not that I’m attempting to downplay the skill and strain involved in being a good screamer/growler).
So when a show like this rolls around, featuring three bands whose singers are all capable of knocking it completely out of the park (and practically into orbit) with their clean singing abilities, you’d best believe that we’re going to write about it.
Editor’s Introduction: For years I’ve been an admirer of the photography of L.A.-based magician Levan TK. In my humble opinion, there is no better concert photographer to be found. And so we feel fortunate indeed to present his photographs from the performance of the legendary Mayhem in southern California on February 7, 2017, along with Levan TK’s thoughts about the show. To view more of his photographic art, go HERE.
And by the way, to hear the first time De Mysteriis Dom Sathanas was ever performed live in its entirety (in Norrkjöping, Sweden, on Dec. 18, 2015, at the Black Christmass Festival), it’s available on Bandcamp HERE.
Mayhem’s De Mysteriis Dom Sathanas US tour hit LA — well, Santa Ana, which is part of the greater Los Angeles area to be precise. Though the band had performed the album in its entirety last year at Maryland Deathfest, as well as a few European fests and shows, they have never before attempted a full stateside tour for the pivotal album.
(As part of his continuing effort to make his NCS colleagues jealous, Andy Synn attended the performances of Insomnium, Barren Earth, and Wolfheart in Birmingham, England, on January 16, 2017, and files this tardy report.)
Last week I managed to snag myself a guestlist slot on the Birmingham date of the Insomnium/Barren Earth/Wolfheart tour. And a good time it was indeed.
But why has it taken so long for me to get this write-up together?
Laziness. Pure laziness. Or, you know, some other reason. Take your pick.
Either way, better late than never, right?
(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: