Heart Of A Coward – Carcer City – Red Enemy: Live at The Fighting Cocks, Kingston (UK)


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“Welcome home” is the opening lyric of for Heart Of A Coward‘s monstrous new album (my pick for Album of the Year, by the way), Deliverance (Century Media). And it’s properly apt for tonight’s gig at The Fighting Cocks in Kingston. Seeing bands of tonight’s calibre in a space smaller than many toilets redefines the concept of an intimate gig. The close quarters with the bands coupled with virtually flawless sound have made this place my new favourite venue.

Starting tonight’s proceedings are a hardcore crew from Dublin by the name of Red Enemy, and very nice they are too. Space limitations in the open cupboard that passes for a stage exiled vocalist Kevin “Lefty” Letford to the pit, a state of affairs that can intimidate some frontmen, but this fellow was more than up to the task, spitting his venom directly into the faces of an eager crowd. Classic hardcore.

Next up was (for me) the surprise of the evening, a group of Scouse djentlemen going by the name of Carcer City. With a rare mix of endearing humility and huge sackfuls of charisma, these chaps delivered a headline-worthy set of precise, atmospheric and above all meaty djent metalcore played with delightful abandon. Comfortably one of the best support acts I’ve ever seen, these guys are ideal tour buddies for HOAC, being similar enough to sell to the same crowd, yet different enough to stand alongside rather than in the shadow. Their 2011 album – The Road Diaries – is available on their website for free. Get it, love it and buy merch.

Changeover consolidated the sense of intimacy, with band members threading back and forth through the crowd (backstage is effectively outside, and no space for a crew of roadies) that let them get about it, rather than hassling for selfies. This didn’t feel like a roomful of punters watching transcendent idols – it had the community spirit of a tight group of local bands playing in a room full of their mates.

All comparisons with “local bands” are off, however, once HOAC take the stage. Opening with a pitch-perfect rendition of ‘Hollow’, the headliners delivered a world-class performance that equals anything I’ve seen from the likes of Lamb of God, Devildriver, Machine Head or Killswitch et al.

Jamie Graham‘s vocals are absolutely (almost Randy Blythe levels of) brutal live. His growls are throatier than on record, losing no power through the course of the hour-long set, whilst his clean and semi-clean notes were on the money and lost none of their expression and impact. The frankly astonishing PA preserved more sound clarity of Carl & Steve‘s guitars than is decent, whilst Vishal‘s bass sound must’ve been felt in Surbiton. By rights, Chris‘ drums should have sounded like biscuit tins with the kit being in what’s effectively a sound box, but it seems The Fighting Cocks sourced their PA in Daigon Alley, as there was no sound engineering going on this evening – this was pure sonic sorcery.

A titanic Deliverance-heavy set (‘Turmoil’ I & II, ‘Anti-Life’, ‘Mouth of Madness’ and ‘Skeletal I’ all made an appearance) left an ecstatic crowd stunned, sweaty and in no doubt they’d seen one of the best gigs of their lives. It certainly was one of mine.

Go and see all three of these bands as soon and as often as possible.

 

WORDS BY PHILIP PAGE

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On The Road… with Clutch and Corrosion Of Conformity


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What year is it again? A new Star Wars movie is about two months away, Iron Maiden has a brand new album out that rules, The Muppet Show has new episodes on TV each week and other amazingness is happening. Somebody pinch me! Or don’t, because I don’t want to wake up if this is a dream. And for the kicker, Clutch and Corrosion of Conformity, frequent touring partners for the last 25 years are out on the road together once again. Playing blistering sets each night for droves of fans, neither band competes with the other. Instead they live in their own bubbles of genre defining greatness. C.O.C., now rejoined by Pepper Keenan (Down), are rejuvenated by going down memory lane for a set consisting of songs from classic 90s albums such as Deliverance and Wiseblood (both Columbia). Although they occasionally toss in an 80s crossover classic, one hopes the band hasn’t abandoned its fruitful “COC trio” work they have been doing the last few years completely. Writing for a new COC album is ongoing and a release is expected sometime in 2016. In the meantime Clutch is just crushing on the strength of their bold new album Psychic Warfare (Weathermaker). Led by the indomitable Neil Fallon, the band has mined this new album heavily live, as well as the classics that have made Clutch one of the premier American heavy rock bands going. Captured tonight by Evil Robb Photography at Hampton Beach Casino Ballroom in New Hampshire, you have one of the strongest bills of no compromise rock and metal heard anywhere this fall.

Clutch, by Evil Robb Photography

Clutch, by Evil Robb Photography

 

Clutch, by Evil Robb Photography

Clutch, by Evil Robb Photography

 

Clutch, by Evil Robb Photography

Clutch, by Evil Robb Photography

Clutch, by Evil Robb Photography

Clutch, by Evil Robb Photography

Corrosion of Conformity, by Evil Robb Photography

Corrosion of Conformity, by Evil Robb Photography

Corrosion of Conformity, by Evil Robb Photography

Corrosion of Conformity, by Evil Robb Photography

 

Corrosion of Conformity, by Evil Robb Photography

Corrosion of Conformity, by Evil Robb Photography

Corrosion of Conformity, by Evil Robb Photography

Corrosion of Conformity, by Evil Robb Photography
 

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Heart Of A Coward – Deliverance


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Now then. Every once in a while, you find an album where the first track gives you a stupid shit-eating grin because you just know the whole album’s going to kick your ass. Deliverance (Century Media) by Heart Of A Coward is one of those. Writing this review is a bit like trying to make conversation with a devastatingly attractive woman – all I could initially think of to write about each song was “Fucking Brilliant”.

The greatest thing about the djent “genre” is the huge diversity of influences and styles across the different bands. The potential for originality and excellence in such fertile ground is vast – the scene is a passionate community, has already bred a wide cadre of noteworthy bands and boasts its own labels, producers, websites and festivals.

Heart of a Coward are a fairly recent band on the scene, having formed in 2009, and, with the likes of Periphery and Animals as Leaders, are among the second generation of djent acts delivering on the rich promise of the genre. Taking the djent tropes as a given, there’s a plethora of high-grade influences evident in the mix – from Fear Factory crunch to Strapping Young Lad noisescapes through Lamb of God grooves and Killswitch Engage energy with Deftones breaks and Soilwork shout-a-longs. The real achievement of all this, however, is the fact that it’s realised without sounding fragmented or derivative. The different elements all coalesce into a cohesive sound that’s original, distinctive and incredibly full-on.

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This is the Milton Keynes noisemongers’ third album, and it’s an absolute pearler. It’s different in tone to their last outing – Severance (Century Media) – darker, fewer atmospherics, more aggressive and only a dash of clean vocals. This one’s less about the story and drama and more straight-ahead moshbait pitched perfectly to destroy any venue that dares to have them on the bill. We start with ‘Hollow’, which has you wishing for a mosh pit before the first bar is done; a blistering statement of intent that leaves you with absolutely no doubt as to what’s to come, ‘Miscreation’ is up next, and is basically one long beatdown interspersed with soaring screamalong vocals. ‘Turmoil I – Wolves’ is a masterpiece of metalcore chug with shades of Killswitch, following into ‘Turmoil II – The Weak Inherit The Earth’ which sounds like early Chimaira injected with a heavy dose of groove.

‘Anti-Life’ and ‘Grain of Sand’ are triumphs of production, successfully replicating Devin Townsend‘s “Wall of Sound” to crushing effect. Absolutely superb before ‘Mouth Of Madness’ slows things down a touch with a Slipknot-esque opening and a chorus that features the first appearance of clean vocals on the album. ‘Deliverance’ is the most outwardly djent entry on the line-up and the song that most closely resembles their prior work. It would be wrong to call ‘Skeletal I – Mourning Repairs’ a slow song, but it’s an immersive, soulful number that’s up there with Filter or Porcupine Tree for heavy shoegazing. ‘Skeletal II – Arise’ follows straight on as an extended outtro and a melancholy end to the album.

In summary, Deliverance is a stunning piece of work that can only be criticised for coming to an end.

More of this please lads.

 

9.5/10

 

PHILIP PAGE