On The Road… with Anthrax


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Most bands don’t survive 35 years on luck, and if you know the history of Anthrax, you know that good fortune hasn’t always been on their side. But what they have always displayed is a ton of heart and soul, and of course the great anthems that made them one of the standard bearers of Thrash Metal. Having just celebrated the a fore mentioned anniversary date and being one of the oldest operating bands of the “The Big Four” of Thrash still making impactful new music, Anthrax has proved their staying power in their recent release For All Kings (Nuclear Blast/Megaforce). With their second new album since the return of front man Joey Belladonna’s golden voice and dynamic performance style, the band has ridden high this summer over a wave of European festivals and rare headlining shows across the continent. On this night in Madrid, Spain at the Sala Arena venue, the band stretched out in a longer show, more fitting of their own legendary high-energy gigs. Unconstrained by the shorter set time of a festival slot, the band played new songs off of For All Kings such as ‘You Gotta Believe’, ‘Monster In The End’, and ‘Evil Twin’ right along side fan favorites like ‘Caught In A Mosh’, Madhouse’, and modern classic ‘In The End’. The band showed why they are still in demand with their wild stage show, as seen in the photo set here captured by Lisa Schuchmann for Ghost Cult.

 

Anthrax, by Lisa Schuchmann

Anthrax, by Lisa Schuchmann

 

Anthrax, by Lisa Schuchmann

Anthrax, by Lisa Schuchmann

 

Anthrax, by Lisa Schuchmann

Anthrax, by Lisa Schuchmann

 

Anthrax, by Lisa Schuchmann

Anthrax, by Lisa Schuchmann

Anthrax, by Lisa Schuchmann

Anthrax, by Lisa Schuchmann

 

Anthrax, by Lisa Schuchmann

Anthrax, by Lisa Schuchmann

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PHOTOS BY LISA SCHUCHMANN

 

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Primitive Man – Sea Bastard – Barbarian Hermit: Live at Star and Garter, Manchester UK


Primitive Man (10)

Primitive Man, by Rich Price Photography

There are two things that most definitely will not be missed when Manchester’s “Old Lady” is criminally levelled to make way for unnecessary and unwelcome redevelopment: the appalling quality of their draught ale; and the surly, unwelcoming behaviour of the corpulent head barman. Everything else about this wonderful little venue, from its weathered, ageing exterior to its intimate attic space, will be a terrible loss to the history and future of this proudly cultural city.

Barbarian Hermit, by Rich Price Photography

Barbarian Hermit, by Rich Price Photography

Battling against The Angus Young Quintet a mile up the road, tonight the S&G was treated to the second visit to the city in fourteen months from Denver monsters Primitive Man and their friends and touring partners, Brighton’s Sea Bastard. Repeating last year’s scenario, local Black Thrashers Satanic Dystopia dropped at the eleventh hour so it was left to fellow Mancunians Barbarian Hermit to blaze the trail. Though less sartorially striking than at the NOIZ All-dayer two months earlier, their Sludge-flavoured NOLA template woke up the room: charismatic frontman Si Scarlett’s roar carrying an incredible depth, his Ollie Reed-like features reinforced by the drama of his performance. With Scarlett and similarly-attired bassist Chris Wood launching their baker boy caps early doors, however, the lack of visual strike from this albeit powerful, entertaining band exposed the music which, despite the heavy groove and some electrifying leadwork from Adam Robertshaw, didn’t carry the intensity of the other bands.

Sea Bastard, by Rich Price Photography

Sea Bastard, by Rich Price Photography

As the first crushing chords came in, Sea Bastard frontman Monty looked as sleepy as his shirt. The south-east monstrosity came wading in, however, with the colossal weight and sluggish movement of a rudely-awoken Kraken. ‘The Hermit’, their massive contribution to the recent ‘split’ with their touring buddies, seemed so much more brutal live: Monty’s cavernous, blackened roar duelling with the sarsen-dragging rhythm section and Oli Irongiant’s crushing axe, entertainingly and expressively wielded as ever. The band are completely transfixing and, in this little room, the implosive, crawling portent made one feel physically sick in the most passionate, euphoric fashion. To witness Irongiant undertake the riff solo of the ensuing ‘Astral Rebirth’ and feel the pain of every chord was both moving, terrifying and euphorically ominous, foretelling the phenomenal crush that soon arrived and duly sent the rafters for cover. The subtle yet bewildering speed of bassist Steve Patton and touring drummer Sam Chase in the track’s quickening, meanwhile, displayed the gamut of skill possessed by this unit: one of the greatest from our shores and certainly responsible for one of the all-time great performances here.

Primitive Man, by Rich Price Photography

Primitive Man, by Rich Price Photography

Primitive Man shouldn’t be here again, but thank fuck they are. Their sound is a hideous joy: Ethan McCarthy’s diseased, crazed delivery comes from one of the nicest guys around, his bulging eyes as terrifying as his roaring mouth, which gave the impression that his whole face was opening. Jonathan Campos’ bass, in turn, isn’t a bass: it’s 20,000 articulated engines crushing your soul with every pluck of the string. New drummer Joe laid waste to his kit, McCarthy eyeing the ceiling with the torment and belief of a guy who’s actually seen God. Suddenly, all of the musicians who’d appeared earlier were transfixed, videoing the performance as if we’d never see the Man’s like again. The pace switched whilst maintaining the horror, a stark isolation blending with raw emotion, and to do that with such pregnant hostility was utterly enthralling.

Primitive Man, by Rich Price Photography

Primitive Man, by Rich Price Photography

The vicious, howling breakdown of the set closer (“Just a new track” McCarthy typically understated later) is the most harrowing expression of pain and hate I’ve ever witnessed, turning possessed devotees into shirt-ripping zealots with the sheer uncontrollable tension of it all. Shattered, spent, deaf, and grinning from ear to ear, I was by no means alone in caring not a jot for any damage done to my creaking body. It was a joyous surprise to see both of these bands so soon, and who knows how long it will be until the next time. When that does come around, there is quite simply no good reason for your absence.

Primitive Man, by Rich Price Photography

Primitive Man, by Rich Price Photography

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WORDS BY PAUL QUINN

PHOTOS BY RICH PRICE


Ritchie Blackmore’s Rainbow – Genting Arena, Birmingham, UK


Ritchie Blackmore's Rainbow Genting Arena ghostcultmag

It was unfortunate that the first thing I noticed after entering the impressive Genting Arena for Ritchie Blackmore’s Rainbow was a seriously poor collection of t-shirts at the merchandise stand. How difficult would it have been to produce a nice black shirt with the Rising cover on the front and the single NEC date splashed across the back for a smugness level of 11? Mind you, you did get a free Blackmore’s Night CD with every purchase, so there was that, I suppose.

Support act Mostly Autumn were up first, and shorn of a member or two, could realistically have been called Mostly Mostly Autumn for the evening. Hard rock with a celtic edge, singers Bryan Josh and Olivia Sparnenn sounded fantastic, but you felt they would have been far better suited to a much smaller stage.

And so to the only reason people were in attendance. Ritchie Blackmore’s Rainbow. Arriving on stage to a recording of ‘Land of Hope and Glory’ the lengthy intro was completed by a sound clip of Judy Garland in The Wizard of Oz followed by Blackmore playing ‘Somewhere Over the Rainbow’ while accompanied by the loud and rapturous applause of everyone inside the sold out venue.

https://www.youtube.com/watch?v=rEkZARpwXao

 

Opening properly with Deep Purple‘s ‘Highway Star’, it was lift-off inside the arena as everyone sang along with relatively unknown vocalist Ronnie Romero at the top of their voices. However, even at such an early stage in proceedings it was clear that Ritchie was not on top form. Well, how could he be? He’s 71 with the onset of arthritis and recovering from a recent operation on one of his fingers. This wasn’t Blackmore at the height of his pomp, this was an ageing Blackmore doing his very best his fingers would allow. His guitar sound wasn’t great, he stayed pretty much rooted to the spot, steadfastly refusing to move to the other side of the stage even for a couple of minutes, and he appeared to be playing everything a little slower and a lot more staccato than the studio material everyone knows so well. But he was there. It’s a distinct possibility that Black Sabbath won’t sound their absolute best when they play their final show here next year, but you know it’ll go down as a classic regardless of their performance, and it was the same for Rainbow last night. Blackmore might not be able to let his fingers fly like they used to, restricting his solos to bluesy licks and scales, occasionally throwing in short bursts of speed when needed, but he still gave it his all and the gig will still be talked about for a long time to come.

https://www.youtube.com/watch?v=jndFrVQDTmU

 

If it wasn’t for Blackmore, vocalist Ronnie Romero might well have stolen the show last night. I’d never heard of him or his band Lords of Black until very recently, but if there’s any justice in this world then he’ll have a big future ahead of him. He belted out Ronnie James Dio‘s Rainbow tracks with complete authority and his voice was nothing short of spectacular. He handled the Ian Gillan stuff incredibly well too, showing the right amount of power and emotion, with only ‘Child In Time’ being a bridge too far for his ability as he let the two female backing singers take the ridiculously high notes for him while he continued in a lower register. Keyboard player Jens Johannson, stolen for this brief run from Finnish Power Metallers Stratovarius excelled in his role as Ritchie’s foil, playing off the guitar parts and taking over when he needed to. His playing even turned a predictably tedious drum solo into something actually worth listening to.

Mixing just about the right amount of Purple and Rainbow material, Blackmore always had the audience on side, and God help me, I’m sure I even saw him crack a smile on a couple of occasions. ‘Man on the Silver Mountain’, ‘Spotlight Kid’, ‘Mistreated’, ‘Perfect Strangers’, and ‘Soldier of Fortune’ were brilliant. ‘Long Live Rock and Roll’ turned into a massive sing along, and ‘Stargazer’ was phenomenal. However, ‘Black Night’ sounded a little twee, and you’d think the guy who wrote ‘Smoke on the Water’ would be able to play it in time. The few first bar was off by about half a beat and it took a few seconds to get back into it. ‘Since You Been Gone’ was another huge sing along and ‘Catch The Rainbow’ although played well, just wasn’t as good as when Opeth played it at Bloodstock Open Air shortly after Ronnie James Dio died. That version was a serious shivers down the spine moment, while last night it just lacked something special. Thankfully, the omission of the hugely overrated ‘I Surrender’ helped make up for this.

https://www.youtube.com/watch?v=VvGy6HF8tfM

 

A massively enjoyable evening where everyone went home with daft grins, thoroughly happy that they’d seen someone called Ronnie sing Rainbow songs with Ritchie Fucking Blackmore on the stage.

Set list:
Land of Hope and Glory/Over the Rainbow (intro)
Highway Star
Spotlight Kid
Mistreated
Since You Been Gone
Man on the Silver Mountain
Soldier of Fortune
Difficult to Cure/Drum Solo
Catch the Rainbow
Perfect Strangers
Long Live Rock ‘n’ Roll
Child in Time
Stargazer
Black Night
Encore:
Burn
Smoke on the Water

GARY ALCOCK

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Trivium – Heart Of A Coward – As Lions – UEA, Norwich (UK)


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There’s a different feeling about a Trivium show these days. Packed to the rafters with a second generation of fans picked up since their refinement and reinvention on In Waves and the successful follow-ups Vengeance Falls and latest opus Silence In The Snow (all Roadrunner), the Floridian thrashers seem very comfortable in their skin. And with good reason, as since entering the second phase of their evolution they have found themselves, no longer chasing the ephemeral but secure with their sound and who they are.

And it is with this calm confidence and assurance that Matt Heafy addresses the throng, self-deprecating tongue never far from cheek. He gently chides the crowd for being passive between songs despite their enthusiasm during tracks, indulges in classic metal encouragement getting everyone to “sing the guitar part, like Iron Maiden” on a flawless ‘Strife’ (and everyone does), addresses theSpinal Tap-esque number of drummers they go through and mocks his own appearance around the Shogun era.

A secure leader, equally his vocals have never sounder better, as he delivers note perfect cleans across the board, while still dipping into some welcome aggressive harsher tones on the older material. Corey Beaulieu is clearly enjoying connecting with a happy crowd while ripping out a slew of metal hits,Paolo Gregoletto is a head-bobbing pocket-dynamo, chipping in with some great harmonies and a ruthless pounding undertone, and new sticksman Paul “Wanky” Wandtke brings the beat, looking every inch a Steel Panther, adding showmanship, power and humour from behind the kit.

 

And it’s the set that makes you realize just how many great tunes Trivium have under their belt at this stage of their career. Whether it’s the more vocal-led ‘Silence In The Snow’, or the machine gun ‘Rain’, the, um, anthemic ‘Anthem (We Are The Fire)’ or the mix of it all in mid-set highlights ‘Through Blood And Dirt And Bone’ and ‘Ghost That’s Haunting You’, they’ve now reached a consistent, slick and career-high level of performance in the live arena. Flanked by huge white skulls with glowing laser eyes, by embracing their classic heavy metal roots, by the time a bowel-punching ‘In Waves’, complete with every voice bellowing the title closes things up, Trivium have calmly proven they are what we always thought they’d be; an excellent heavy metal band.

Their supports are still in the process of finding their places in the world, with Jamie Graham clearly hungry to bully and cajole every youthful face in the venue to join their cause. Backed by mammoth slabs of head-punching excellence, like ‘Hollow’, ‘Turmoil I’ and ‘Turmoil II’, it’s a successful venture as Heart of a Coward prove last year’s stunning Deliverance (Century Media) belongs in larger venues. Meanwhile, As Lions deliver plenty of promise in an engaging and triumphant opener slot that sees a band with only one song in the public domain convert new recruits by their hundreds; Austin Dickinson a strong presence with a versatile and dominant voice backed by hooks, riffs and people waiting to lap them up.

The next time each and every one of these three bands heads anywhere near you, do yourself a favour and indulge in their quality live fare, you won’t be disappointed.
STEVE TOVEY

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On The Road… with Ensiferum


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Finland’s Ensiferum are one of the worlds leading “pagan metal” flag-wavers, if there can even be such a thing. The band released the criminally underrated One Man Army (Metal Blade) album last year, easily one of the finest moments in their career. Oddly though they don’t seem to have same recognition as some of their peers in the battle metal sub-genre. No matter, the music and the fans are what counts to this outfit, and it is proven by the many sold-out tour dates. Playing to a full room tonight in the band plays the hits, both old and new. The throng of fans approves. They are joined on this tour by the talented Metsatoll from Estonia, who also seem to be more obscure than thy deserve. On this night at Rainbow Warehouse in Birmingham Luke Denham of Luke Denham Photography caught all the action for Ghost Cult Magazine.

 

Ensiferum by Luke Denham Photography

Ensiferum by Luke Denham Photography

Ensiferum by Luke Denham Photography

Ensiferum by Luke Denham Photography

Ensiferum by Luke Denham Photography

Ensiferum by Luke Denham Photography

Ensiferum by Luke Denham Photography

Ensiferum by Luke Denham Photography

Metsatoll by Luke Denham Photography

Metsatoll by Luke Denham Photography

Metsatoll by Luke Denham Photography

Metsatoll by Luke Denham Photography

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On The Road… with My Sleeping Karma, Greenleaf and Mammoth Mammoth


My Sleeping Karma by Jesica Lotti Photography

My Sleeping Karma by Jesica Lotti Photography

German instrumental space rockers My Sleeping Karma have toured relentlessly for the last year behind their album Moskha (Napalm Records), and recently hit the UK for a string of dates. The bands blend of psychedelia, stoner metal and incredible instrumental prowess, makes their shows much more lively than your average band of navel gazing, self-important nerds. MSK gets the “rock” part of this and they always put on a fine show. Opening tonight’s show was Aussie no-nonsense heshers Mammoth Mammoth. These guys know how to write party rock anthems and feel good jams. MSK’s Napalm Records label mates Greenleaf of Sweden, themselves have a brand new album they are promoting, Rise Above The Meadow. Their blend of Sabbath-like retro grooves and well written psych explorations are as intoxicating as the many beers consumed in the bar this night. At The Garage in London recently, all the bands packed the club to nearly sold out, further proving the worth of this type of bill. Thanks to Jessica Lotti Photography for capturing the show for Ghost Cult.

 

My Sleeping Karma by Jesica Lotti Photography

My Sleeping Karma by Jesica Lotti Photography

 

My Sleeping Karma by Jesica Lotti Photography

My Sleeping Karma by Jesica Lotti Photography

 

Greenleaf, by Jesica Lotti Photography

Greenleaf, by Jesica Lotti Photography

 

Greenleaf, by Jesica Lotti Photography

Greenleaf, by Jesica Lotti Photography

 

Mammoth Mammoth, by Jesica Lotti Photography

Mammoth Mammoth, by Jesica Lotti Photography

 

Mammoth Mammoth, by Jesica Lotti Photography

Mammoth Mammoth, by Jesica Lotti Photography

 

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On The Road… with Tesseract and The Contortionist


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Progressive metal stars Tesseract have hit the ground running hard since the release of their new album Polaris (Kscope) in 2015. Re-energized by returning vocalist Daniel Tompkins and new horizons to reach for musically, the band has been slaying out on tour. Will a huge headline run of dates in their native United Kingdom, as well as the rest of Europe, rabid fans were in a froth. Especially to see Tompkins, who is truly a great conduit vocally and lyrically for what the bands lays down. Most of the shows on the tour are already sold-out, attesting to the greatness of this band; already a modern legend. On this night at Rescue Rooms in Nottingham, the band was supported directly by like-minded US proggers The Contortionist and Nordic Giants (not pictured). The Contortionist themselves are another great young band, with a similar career arc of the headliners. Now fronted by Michael Lessard (Last Chance To Reason), the band is touring hardcore behind their own recent release the “Rediscovered” version of their album Language (eOne). As for the headliners, if you have ever seen them live, they are masterful performers. On this night they crafted a set list highlighting their newest work, but always remembering the moments from older albums that got them here in the first place. Captured here for Ghost Cult by Luke Denham of Luke Denham Photography, you get a glimpse one of tomorrow’s best band, today.

TesseracT set list:

Phoenix

Messenger

Concealing Fate, Part Two: Deception

Concealing Fate, Part Three: The Impossible

Of Matter: Proxy

Of Matter: Retrospect

Of Matter: Resist

Dystopia

Hexes

Survival

April

Of Mind: Nocture

Concealing Fate, Part One: Acceptance

 

Tesseract, by Luke Denham Photography

Tesseract, by Luke Denham Photography

 

Tesseract, by Luke Denham Photography

Tesseract, by Luke Denham Photography

 

Tesseract, by Luke Denham Photography

Tesseract, by Luke Denham Photography

 

The Contortionist, by Luke Denham Photography

The Contortionist, by Luke Denham Photography

 

The Contortionist, by Luke Denham Photography

The Contortionist, by Luke Denham Photography

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Terror – Wisdom In Chains – Twitching Tongues: Live At The Underworld, London


the-underworld-Sat-30-Jan-16

On a Saturday night in London, all hell can break loose at a hardcore show. And of course, you want it to. The pure joyful chaos of the pit, bands running around stage, the pit punchers, and the inevitable pile-nos with sweaty hands clasping the microphone to bark those lines than mean so much to so many. Coming off The Persistence Tour in January, Terror also had a brief run of headline shows as well, and why we were in London tonight. Terror remains one of the longest running, most consistent punk bands and still touring to packed clubs on the reg. On this night front man Scott Vogel (also of World Be Free) owned the stage, as usual. Their recent album, 2015s The 25th Hour (Victory/Century Media) was an instant classic for the band. Proving they still have a lot in the tank, they are already working on the follow-up release. Direct support band Wisdom In Chains are one of the unsung heroes of East Coast Hardcore. Their brutal riffs and stage presence don’t tell the full story of their great story telling, intellectual writing. Of course like Terror, they are fierce in a live setting. Twitching Tongues arrived to make noise the last few years and set everyone on notice about the aggression and smarts this band has. Unafraid to be deeply ensconced in HxC ways, but flying their metal flag with pride; if there was a band rightfully earning the tag “the next Nails”, it is them. Front man Colin Young is one of the best right now, commanding a crowd like few else.  Weymouth UK upstarts Ironed Out, with their twin vocal attack opened the how. Thanks to Jessica Lotti Photography for capturing this insanity on stage and in the crowd for Ghost Cult.

 

TERROR, by Jessica Lotti Photography

TERROR, by Jessica Lotti Photography

 

TERROR, by Jessica Lotti Photography

TERROR, by Jessica Lotti Photography

 

TERROR, by Jessica Lotti Photography

TERROR, by Jessica Lotti Photography

 

 

Wisdom In Chains, by Jessica Lotti Photography

Wisdom In Chains, by Jessica Lotti Photography

Twitching Tongues, by Jessica Lotti Photography

 

supporting Terror

Twitching Tongues, by Jessica Lotti Photography

 

Twitching Tongues, by Jessica Lotti Photography

Twitching Tongues, by Jessica Lotti Photography

 

Ironed Out, by Jessica Lotti Photography

Ironed Out, by Jessica Lotti Photography

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Ghost – Dead Soul: Live at Koko, London


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Ghost – 2015. Photo Credit: Gary Alcock

Ghost are the sort of band that attract a huge diversity of fans, all with an intensity of support and admiration for the Swedish occult rockers and their penchant for matters Satanic and enormous, 70’s influenced tunes. Now deep into a tour that has seen them traverse the USA as well as mainland Europe in support of their critically acclaimed and warmly received third album, Meliora (Spinefarm) – Ghost Cult’s Album Of The Year for 2015 – this final show of 2015 had a real sense of occasion about it.

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Ghost – 2015. Photo Credit: Susan Wall

The sold out venue is heaving; literally and (in terms of audience anticipation) figuratively. Fellow Swedes Dead Soul provide a, ahem, lively opening. Their atmospheric blend of Nine Inch Nails industrial rock meeting Nick Cave and Johnny Cash in a darkened alley and agreeing to go for another round of drinks somewhere less than salubrious is a dark and delicious delight and the audience’s annoyance that their 30 or so minutes seems to be over in a flash, is palpable. Come back soon, gentlemen.

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Ghost – 2015. Photo Credit: Gary Alcock

Ghost arrive as long lost heroes. The roar of approval for the purple robed Papa Emeritus III is as loud as it is warm. Ghost have, quietly but assiduously, built themselves an enviable canon of songs that are greeted with raucous and genuine affection. Much of the set is inevitably around the latest record which is all fine and dandy given that it’s one of the best of the past 12 months. ‘Mummy Dust’ has an added venom and sense of danger than is perhaps initially obvious on the album and is all the better for it. ‘Majesty’ reveals itself as one of the album’s tent-poles, layered and intoxicating. ‘He Is’ has become something of an instant classic, 1000 voices joining in unison around a song that seems destined to be this generation’s power ballad of choice. Never has the phrase Satanic Abba seemed more apposite. ‘From the Pinnacle to the Pit’ has one of the filthiest basslines that you’re likely to hear this or any other year and is greeted like some twenty year old classic rather than a new cut from a new album.

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Ghost – 2015. Photo Credit: Gary Alcock

Ghost’s ability with melody has been well documented; live they have become a beguiling and compelling proposition. Anyone who harboured any doubts about whether they could cut it as a headliner or move out of the constrictions of simple novelty act should dispense them immediately. Ghost are intelligent, self-aware and self-deprecating in equal measure. They have evolved; they have a better sense of showmanship and audience interplay. Where early shows revolved around Papa shuffling around the stage simply dousing the audience with incense has now morphed into a full on rock show with The Nameless Ghouls losing the monks hoods and sporting very fetching demon masks and dominating the front, sides and back of the stage. ‘Year Zero’ has drama and danger in equal measure, ‘Guleh’ feels cathartic and invigorating. The old – and misplaced – adage that cover versions are never as good as originals has now been ground to (mummy) dust as the band’s cover of the Rory Erikkson song ‘If You have Ghosts’ amply demonstrates- this is now, unequivocally, their song. Closing track ‘Monstrance Clock’, arriving as assuredly as the morning sun, is valedictory.

I doubt whether Ghost actually intended this, but this show at the start of Christmas week was the capital’s alternative Christmas Evensong, such was the intensity of performance, the proliferation of ecclesiastical ritual and an overall ambience of rich, invigorating passion.

Stunning; absolutely stunning.

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Ghost – 2015. Photo Credit: Gary Alcock

 

WORDS BY MAT DAVIES

 PHOTOS BY GARY ALCOCK and SUSAN WALL

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Thurisaz – The Infernal Sea – Edenfall – Scryre: Retro Bar, Manchester (UK)


Thurisaz

Opening up proceedings were newcomers Scryre. Playing only their fifth ever gig, there was an element of hesitancy in their stage movements and crowd interactions which can only have been further hindered by the tiny stage, however this was overshadowed by an impressively tight and confident musical performance.

Scryre (6)

Scryre – Retro Bar, Manchester, 2015. Photo Credit: Rich Price

The drums in particular were a percussive powerhouse and worked very well with the solid bass work. This, combined with some very nice riffs and spirited and typically shrill Black Metal vocals, helped create an enthusiastic atmosphere in the venue. There was some nice variation in their sound which kept the crowd going throughout a set that built up to one hell of a finish.

From their belting set two things are clear: Firstly, with more gigs under the belts these are definitely going to be a band to watch out for; secondly that the next band have a tough act to follow.

Edenfall (9)

Edenfall – Retro Bar, Manchester 2015. Photo Credit: Rich Price

Edenfall have a serious demeanour and a soft vocal style. They bring a nice low end, and deliver their gothic doom at a good pace, with their music possessing an ethereal yet ephemeral quality. Nice bass underpins the songs, soaring vocals interspersed with low guttural vocals give a real depth to the set. The overall feeling is the constant build up to of one hell of a storm.

They can certainly build a song nicely indeed, but with each one they create momentum only to tear it down again. Soaring vocals, elements of the majestic and magical about them, yet at the same time seem to lack the confidence to fulfil their obvious potential.

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Edenfall. Photo Credit: Rich Price

Building to a fast and heavy finish they do deliver a strong set, the build ups are nice and they pack some decent low end doom chug. Ultimately, though, it was missing something. Whether this was down to a lack of confidence and crowd interactions; or simply technical issues – on a few occasions they seemed to go out of sync with backing tracks – is unclear, but it did seem to stop them fulfilling the promise they show on record.

The Infernal Sea (21)

The Infernal Sea, Photo Credit: Rich Price

Capitalising fully on the build up from Edenfall, The Infernal Sea took to the stage doused in dark and doom green light and delivered the promised storm. Clad in plague masks, and filling the room with guttural gurgling vocals, simple but abrasive guitars, buzzsaw rattling bass and blasting beats, it was obvious that if anything they had an overabundance of stage presence. This was a great set, and a very confident performance. Fast and tight, even the slower elements were atmospheric and well done.

The Infernal Sea possess a thunderous sound that reverberated around the tiny club. Their new album, The Great Mortality (Cacophonous) is due early in 2016 and they showcased some tracks from it, which showed enormous promise, especially in the bass work – real low end rattling groove – which was potent and relentless in execution.

The Infernal Sea (7)

The Infernal Sea, by Rich Price

Towards the end, they seemed in some danger of seeming a bit samey. As if intended all along they then proceeded to pull out some thrash riffs, and disappeared behind a John Carpenter like wall of dry ice, though from a visual perspective a change of lighting wouldn’t go amiss, especially with the tumultuous sound. Savage and haunting this was a storm to be proud of, and the huge applause at the end suggests this view was widely shared as The Infernal Sea delivered the best performance of the night.

Thurisaz (8)

Thurisaz – Retro Bar, Manchester 2015. Photo Credit: Rich Price

Thurisaz were, initially, very atmospheric, measured and more meticulous than their main support and it felt like the calm after the storm.  They soon picked up the pace, though, and built up into a solid, strong, and powerful performance. Strong choruses, good harmonies, and old school metal solos were delivered, but the headliners were playing to a notably dwindling crowd.

When they blast, they showcase a decent, full sound, taking their time with a confident performance and Thurisaz are musically very tight, displaying some masterful elements to their songs, mixing up  with old school rock references, and definite hints of Iron Maiden in the mix. While bringing the thunder, a lack of stage activity is a big drawback, though their hard metal was delivered with an air of craftsmen.

 

WORDS AND PHOTOS BY RICH PRICE