Although something of a cliche to use the word, Periphery does have some “glacial” moments; the slow, other-worldly grace of “Comfortable Expectations” being a case in point. But more frequently amongst the album’s duration is a sense of the organic.
The album itself consists of just two songs, the first nearing the thirty minute mark and the second closer to twenty. The duo have deliberately set out to work in longer forms than past works have seen suggesting the objective would be to give each song more scope to develop or to withdraw, to layer or to slowly shred, allowing possible melodies and rhythms more room to entice the listener.
Imagine a whiskey-stained, Lemmy-esque throat growling out lyrics over classic doom grooves and you’re right there in the middle of the Earthride sound. The band are classic doom, without a doubt; Vampire Circus fits right in alongside the dark rhythm and blues rock of Black Sabbath, Pentagram or Saint Vitus and will also entertain fans of doom’s younger brother stoner.
Armed with three boxes of 12” vinyl, four boxes of 7” and a collection of CDs, Scruff was laying on the jazz funk when I arrived almost two hours into his five hour set.
Musically, it’s classic Allister. “Blackout” is a dark and hard-hitting track that is full of sharp guitar parts, tribal drumming, and a chorus that’ll have you shouting along to in the car. “2 A.M.”, the slowest song on the album, displays longing vocals and bouncy guitar hooks.
In a turn of events that can only be described as Jurassic Park-esque, The Bomb have discovered prehistoric pop-punk’s DNA and set it out on show. The crashing powerchords of opening track “Up From The Floor” elicit a Pavlovian desire to dress all in black and mosh furiously with a can of cider (mine was a sheltered upbringing), and this sets the tone for the whole album.
When Beecher first arrived years ago they were championed for their blend of metal, melody and electronics. Nowadays all of these factors remain in some form but at least in the live act, or at least tonight, they are pure metal – the more emotional moments being swallowed up within the onslaught of noise.
LCD Soundsystem, the rock’n’roll dance band brainchild of James Murphy (DFA), have always sounded a bit flat on CD, but their live show injects verve and excitement to every song thanks to Murphy’s almost obsessive enthusiasm to entertain every single person.
Starting with a fattened-up metal version of the more introspective “Vultures” before fully announcing their arrival by blasting into the frenetic “A Day in the Death” the new album tracks were impressively performed in the live show, and gained a whole extra intensity and loudness.
The crowd was quiet up to this point, but once “Panda”’s stuttering drum intro burst forth into driving Zeppelin-fuelled blues rock I knew any unbelievers would soon be converted. “Festival”’s bucolic Woodstock folk (that’s the original not the frat boy riot sequel) was an uplifting joy.
Now on their third tour of 2005, The Chemical Brothers wasted no time laying down the heavy beats with “Hey Boy, Hey Girl” before getting everyone up to speed with newer tracks “The Big Jump” and “Galvanise”. They were already working up a sweat on the dancefloor as the crowd erupted into all manner of arm waving, pointing and jumping like loons on a basketball court.
Kind of a strange, beautiful night really. It started with James Bourne from arena-touring, punk-pap fools Busted unable to blag into this grimiest of venues for free and having to pay like a mere mortal and ended with a fully grown man being applauded for swearing and playing with Fisher Price toys.
no matter how good the support seemed at the time, along came the Japanese mentalists and all were blown away. Playing basically the same set as that played in support of Cell-Scape on its release a couple of years ago the band blasted through material of that album and others such as the classic Charlie.
What happened to the Thrice we know and love? The band that would rock so hard that their guitar straps would tear apart mid song? The pop sensible hardcore band that was able to interchange gutteral screams with high flying sing along choruses? Tour. Tour happened.
Theirs is a music for the winter months, for grey skies and wrapping up warm in black clothes definately not sunny beach adventures! Lucky they released it now then…
This year saw the doom world reaching new lows with the almighty incantations of a strenghthened ASVA, originally formed in the droning wake of Burning Witch by B.R.A.D. and G. Stuart Dahlquist and now with the pair having forged allegiance with Jessika Kenney, Troy Swanson, John Schuller and Trey Spruance.