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


“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.



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Periphery – Veil of Maya – Good Tiger: Koko, London


Whether you agree with the idea of Djent being a genre or not, it’s a difficult thing to pull off live, and very impressive when it happens. The hyper-technical layers of sound are beyond the reach of most in-house PAs, if not engineers.

Good Tiger, by Jessica Lotti Photography

Good Tiger, by Jessica Lotti Photography

Sadly, the first band of the evening can’t fully play that card in defence of this evening’s performance. Whilst definitely suffering from a bad case of Support Sound Syndrome, Good Tiger’s thin, reedy vocals and a collectively lacklustre performance failed to reflect the credentials of this “supergroup”. That said, ‘Snake Oil’ (their debut single) as the set closer got a decent reaction and even a singalong from a static crowd that was clearly hungry for the main course.

Veil of Maya, by Jessica Lotti Photography

Veil of Maya, by Jessica Lotti Photography

Chicago’s Veil of Maya were up next, their heavier and bassier sound clearly more compatible with the house rig and a slightly warmer (and tighter) performance was rewarded with a slightly warmer reception in the form of a brief circle pit for ‘Mikasa’. By the end of the set, the assembled Peripherals were suitably warm and even the obvious naysayers were clearly on board.

Good Tiger, by Jessica Lotti Photography, by Jessica Lotti Photography

Periphery, by Jessica Lotti Photography

Come 10 o’clock, Periphery finally took the stage to the opening strains of ‘Muramasa’ and proceeded to deliver a masterclass in How To Play Djent Live, Bitches. Clearly the secret is in the percussive advantage of having every goddamn person on the ground floor moshing in perfect time. Gotta hand it the the Periphery crowd – they got rhythm!

Good Tiger, by Jessica Lotti Photography, by Jessica Lotti Photography

Periphery, by Jessica Lotti Photography

Spencer delivered a supremely confident performance, handling the crowd with ease, allowing plenty of space for (surprisingly tuneful) singalongs and showboating. The ballroom dancing during ’22 Faces’ was a surprise to even this seasoned gig veteran! There was also some Slipknot-style “get down” action, circle pits, a wall of death that didn’t happen and even a spot of row-your-boat from one the most up-for-it crowds I’ve had the pleasure to share a gig with. It’s always a special experience when both crowd and band are clearly happy to be there and genuinely enjoying each other’s company.

Periphery, by Jessica Lotti Photography

Periphery, by Jessica Lotti Photography

Last time I saw Periphery was at Sonisphere in 2011, where they “just” came on stage and kicked everyone’s teeth in. This evening’s recital was far more intimate, polished and accomplished.

With a set list like this no-one goes home unhappy. Ravishing stuff.


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Mirror – Mirror

Mirror - Mirror

Latest of the new wave of stoner/revival/heavy metal bands, Mirror have an impressive and diverse collective CV of work behind them. A Face on the Doom scene, bassist Tas Danazoglou (erstwhile of Electric Wizard and Great Coven) is the main driver behind this band, along with drummer Jaime Gomez Arellano (Blutvial and Septic Tank). The band is very upfront with what to expect from Mirror (Metal Blade), their debut album: “The recording boasts strong melodic ideas with classic, heavy riffs inspired by the sounds of Scorpions, UFO, Iron Maiden, Deep Purple and the like.”

The album’s opener – ‘Mirror’ – is so ridiculously Maiden that it’s almost a surprise as the vocals start that it’s not Ol’ Foghorn himself making a guest appearance. Instead, Jimmy Mavromatis turns in a performance far more reminiscent of Blind Guardian‘s Hansi Kürsch. The song doesn’t suffer from it though – it’s the best of the bunch. ‘Curse of the Gypsy’ is a grandiose affair which reminds strongly of Ghost. The foot comes off the throttle for the stargazing ‘Year of the Red Moon’, where the inevitable Hammond organ makes its appearance and settles in for the remainder of the ride and ‘Heavy King’ is a fine track in the Deep Purple vein with a strong backbone and some lovely breaks from each band member. ‘Madness and Magic’ brings the (classic rock flavoured) doom and ‘Galleon’ brings us back to Killers-era Maiden, while ‘Cloak of a Thousand Secrets’ turns up the heat again for a boisterous hybrid of Blind Guardian and UFO. ‘Orion’s Sword’ servers an extended acoustic(y) intro to the closing track – ‘Elysian’ – which pretty much shoehorns everything from the rest of the album into one song.

As I’ve said before, revival bands often struggle to find their own sense of identity, but I don’t think this is true of Mirror. They’re honest about what they’re aiming for, they’ve delivered as promised and the end result does stand on its own whilst paying authentic homage to the giants of 70s metal. What lets Mirror down is the killer/filler track list (‘Mirror’, ‘Gypsy’, ‘Heavy King’ and ‘Secrets’ being the killers), and the dry production. Now, I fully appreciate that this sound is a central part of the feel the band are going for with this album, but it detracts from almost all the tracks, robbing them of the punch and depth that a richer sound would yield.

Nevertheless, a decent debut, and if you’re into the likes of Purson, Ghost or The Sword, you’ll probably get on with Mirror.




Skindred – Volume


If you’re already a member of the Newport Helicopter Crew, you’ll probably know all of this, but if you’re new to Skindred, then let me take a minute to give you some background.

Back in the mid-90s, popular music genres were much broader than they are today. Music labels were still confident in their ultimate power over distribution and exposure, and alternative bands had to have their own unique sound to stand out and grab the attention of A&R reps. In a dark, grimy, beer-soaked corner between metal, indie, dance & pop lived a group of bands that resisted all attempts at pigeon holing. Every band was an eclectic mix of influences and all were as different from each other as they were from the mainstream.

Alongside the likes of Senser, Pop Will Eat Itself, Collapsed Lung, Jesus Jones, Ned’s Atomic Dustbin and Carter The Unstoppable Sex Machine was a four-piece Welsh juggernaut called Dub War. Mixing metal, ragga and punk with dub and hip hop, the band put out two landmark albums via Earache Records before splitting up in 1999 due to disputes with the label, and from the ashes (well – Benji) of Dub War rose the mighty Skindred.

Featuring a more driven, heavier and ultimately far more successful sound, Skindred’s first album – Bablyon (Bieler Bros./Lava) – was a critical and (eventually) commercial success having featured on a myriad of charts (twice #1 on the Billboard reggae albums chart!) by its 3rd release. Whilst remaining similar in tone and content to Dub War, there was more subtle focus of guitar riffing in both the writing and the (clearly superior) production. The second album – Roots Rock Riot (Bieler Bros.) – signalled a move away from the old Dub War approach, establishing the distinct Skindred sound (which I shall call Skank Metal) in its own right and delivering the band squarely into the arms of the metal fraternity. From then through to 2011’s Union Black (BMG), fans have been treated to massive downtuned riffs, shoutalong breaks, roughneck vocals and sub bass drops as the band have motored through headline academy-level tours and 50k+ festival crowds. Last year’s Kill The Power (BMG) throttled back somewhat with a mellower and more varied sound.

Volume (Napalm) is Skindred’s sixth studio album, following hard on the heels of the last release (only one year between releases rather than the usual two or more), and seems in many ways to have come full circle. From the outset with ‘Under Attack’ there is a distinct and nostalgic return to the Dub War vibe. ‘Volume’ and ‘Hit The Ground’ are sublime fusions of old War and new ‘Dred. ‘Shut Ya Mouth’ is sure to be a moshpit favourite – it’s going to sound monstrous live – and ‘The Healing’ is a swaggering singalong with a euphoric chorus and some random sampling for an outro. ‘Sound the Siren’ has set-opener written all over it, ‘Saying It Now’ returns squarely to Dub War ‘Million Dollar Love’ territory, whilst ‘Straight Jacket’ is possibly the perfect song to show the uninitiated what Skindred is all about, ‘No Justice’ is a punky skankathon, ‘Stand Up’s Slash-esque rolling riff displays some classic rock chops and the show is closed with the near-ballad of ‘Three Words’.

In an age of bands that sometime seem shameless in their adherence to the confines of their parent (sub)genres, Skindred are an inspiration. There’s still no-one sounding remotely like them. Long may they continue.




We Hunt Buffalo – Living Ghosts


Imagine, if you will, the offspring that would be conceived by a three-way between A Perfect Circle, Spiritual Beggars and Mastodon. That’s pretty much what we have here, and it’s wonderful.

Living Ghosts (Fuzzorama) is the second LP from Vancouver cab torturers We Hunt Buffalo. They bill themselves as exponents of “Dirty, Grimy, Fuzz Rock” and they ain’t lyin’, brother. Well not about the fuzz, anyway. Whilst the eponymous first album ticked all three boxes, Living Ghosts has had a lot of the dirt polished off, and sounds tremendously better for it. With fatter bass and some actual use of the mid sliders, the upgrade from self-production to a full studio producer (Jesse Gander of Rain City Recorders) is telling. It has transformed this band from local battle of the bands runners-up into a serious prospect for tours with the likes of Baroness, The Sword, Kvelertak or even the mighty Mastodon.

The first track ‘Ragnarok’ is a beautiful, expansive extended intro for the majestic prog of ‘Back To The River’, ‘Prairie Oyster’ is a sludgey fuzzfest with huge echoey vocals while ‘Hold On’ backs off the fuzz for a return to the prog vibe featuring a strident guitar line and choral vocals that are simply captivating.

‘Comatose’ features a riff that’s inexplicably (and pleasingly) reminiscent of Big Country. ‘Fear’ is a slow stoner classic and ‘The Barrens’ gives us more country vibe, opening out into what’s clearly their stoner/prog comfort zone. ‘Looking Glass’ is a very on-trend 60’s homage (complete with Hammond organ) that leads us to the last track of the album: ‘Walk Again’ – an introspective piece of shoegazing that, given the strength and context of what’s gone before manages the small miracle of being engaging and fitting rather than tedious.

A theme running through this album is familiarity – it gives the feeling even on first play-through that you’ve rediscovered an old favourite. Sombre yet uplifting, distorted yet clear, it delivers an almost transcendent experience that very few bands can manage.

If you’re a Canuck, you’re in luck – these guys are stomping the hell out of the home grounds. I hope those of us in the rest of the world are lucky enough to see them on tour some time soon.





Born of Osiris – Soul Sphere


Deathcore’s a funny scene. Like many of the fusion subgenres, it often fails to find a convincingly cohesive sound amidst the disparate elements that the bands are trying to marry together. What you usually end up getting is a bit like a kit car built by 5 guys with ADHD who’ve turned up with parts from 3 or 4 different manufacturers and half the required tools.

The first three albums of Chicago’s Born of Osiris certainly suffer from this syndrome, feeling bitty, derivative and repetitive. 2013 marked a turning point for the band with the release of the bemusingly-titled Tomorrow We Die Alive (Sumerian). Whilst still a soup of djenty math- and deathcore, the songs gelled more satisfyingly than the predecessors through stronger song-writing and expanded use of keyboard and synth sounds. They finally sounded like a proper band, rather than a group of music nerds showing off to each other.

Encouragingly, Soul Sphere (Sumerian) continues this development (as one would expect from a band with a 12-year career spanning 5 albums). The main evolution here is the death metal part of their sound is much more at the fore, with strong elements of Soundtrack-era In Flames (Toy’s Factory). The math bits also integrate much better with the rest of the parts, sounding more like lead-ins and accompaniment rather than random ejaculations of musical Tourette’s Syndrome. Less Dillinger Escape Plan, more Protest The Hero. I also wonder if someone in the band’s been listening to J-Metal (a wise move, as there’s a scene that effortlessly manages the kind of musical alchemy hoped for by <insert-flavour-of-the-month>core bands), as the keyboards have more spacey feel and greater presence across the album and serve to add more glue to the sound, providing firmer grounding and context for each song.

Soul Sphere‘s opener ‘The Other Half Of Me’ showcases the band’s progress beautifully. The 80’s horror intro floats throughout the piece, binding the rest of the track together into a symphonic slice of Gothenburg goodness that would do any of the Swedes proud. ‘Throw Me In The Jungle’ is an equally strong follow-up in the same vein, but with slightly more emphasis on math. ‘Free Fall’ harks back to their earlier work, but clever use of synth and industrial guitar effects produce a sound that is both consistent and original; an impressive feat, given what’s in the pot.

‘Illuminate’ is slightly disappointing, as it starts off sounding like a continuation of the previous track and would have benefited from being placed later in the album but ‘The Sleeping And The Dead’ changes gear into straight-up djent from the heavy end of the stable and ‘Tidebinder’ proves that it is possible to successfully combine melodic death with djent metalcore. Seriously Nice.

‘Resilience’ dusts off the math chops for a noodlefest very reminiscent of Protest The Hero. ‘Goddess Of The Dawn’ is a blueprint for what the genre should be. All the elements are present, but working seamlessly with each other to produce a deft end result which finally transcends the sum of its parts. ‘The Louder The Sound, The More We All Believe’ is straight melodic death that sounds like it could have been on In FlamesSoundtrack To Your Escape. ‘Warlords’ is funky djent. ‘River Of Time’ is a bombastic salute to symphonic metal. ‘The Composer’ closes the show with another reversion to previous fractious form, but once again being saved by the excellent synth work, which is given centre stage for an outtro that wouldn’t sound out of place on a Blood Stain Child album.

This is seriously good stuff. Put it in your ears immediately.




Neurotic November – Fighting Words


Neurotic November claim to be “Hood Metal”, which if their latest effort, second album Fighting Words (Victory), is anything to go by appears to be fairly straight (Metalcore flavoured) djent lightly seasoned here and there with some low-rent rap sections. I genuinely struggle to see why these guys have gotten such a bad press. I’ve certainly had a lot worse presented to me as genius. While they’re never going to set the world on fire, they at least have their own sound and no-one should in good faith paint them as The Worst Band In The World whilst brokeNCYDE is still a thing…

Fighting Words is a solid improvement on the last album – 2013’s Anunnaki (Victory) – featuring a fatter, tighter sound and more lavish production (from Joey Sturgis, the man behind the deck for Asking Alexandria and The Devil Wears Prada) . The song-writing is a lot better too with some nice guitar hooks, and half-decent vocal flows that wouldn’t sound out of place on an early Stuck Mojo album.

‘The Truth About You’ is a synth-heavy start to the proceedings that is certainly decent enough to get the head nodding. ‘So Hollow’ is a Slipknot-inspired thrasher which leads us into ‘Everglades’ which features guest roars from King Conquer‘s James Mislow. ‘On The Come Up’ is the standout track on the album with the afore-mentioned Stuck Mojo similarities. ‘Rockstar’ bounces along quite nicely in an adequately average djent stylee through ‘2004 – present’ (more of the same) until we arrive at the quirky ‘Wasabi Anguish Pt. II’ which I have to admit I have a soft spot for; it’s basically a mashup of After The Burial and Eminem with some Die Antwoord influences.

So whilst Fighting Words isn’t great, it’s certainly not shit either. If non-mainstream rap metal’s your bag, it’s worth a look.





Heart Of A Coward – Deliverance


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.


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.





Children of Bodom – I Worship Chaos


Many (other than hard-core Bodom fanboys) lovers of the melodic death scene, justifiably, have a kind of love/hate thing going on with Children of Bodom, but people denying that Something Wild (Spinefarm Records) and Follow the Reaper (Spinefarm/Nuclear Blast) are anything less than classics of the genre are being wilfully contrary, in some sort of weird sceptic denial, or simply being ignorant.

It is fair to say, however, that pretty much everything else after that became either self-plagiarising or pedestrian, replacing Bodom with Boredom as the sound has become ever more focussed on speed and regurgitation of the same old licks, riffs and hooks. The last two releases finally signalled some new directions, and I’m pleased to be able to tell you that Bodom’s latest offering I Worship Chaos (Nuclear Blast) continues that step up, though I don’t think they’ll ever match the straightforward brilliance of Follow the Reaper.

Finally ditching that dated, reedy, bee-in-a-box sound for something more modern and meaty provides instant aural novelty, but it’s not just the guitar sound that’s new here as a lot of growing up is reflected in this work. I think ego has been a huge problem for this band over the last decade – it has turned each release into either a competition speed-fest or a quick ‘n’ dirty excuse to get back out on the road – but this album feels painstaking and heartfelt. All the usual Bodom elements are here of course, but there’s a great deal of new (for Bodom, at least) ground broken.

‘I Hurt’ is a strong opener and a classic Bodom track, but the slower tempo and improved sound allows you deeper into the song and validates your reasons for liking Bodom in the first place. ‘My Bodom’ is a pretty simple, “less is more”, affair that’s all the stronger for it. ‘Morrigan’ is a big surprise, as it wouldn’t sound out of place (vocals aside) on a Blind Guardian album! The titular ‘I Worship Chaos’ is a shout-a-long crowd pleaser. ‘Hold Your Tongue’ is reminiscent of old In Flames and ‘All For Nothing’ could almost be a ballad if it had sing-song vocals. Lovely.

So all in all, I Worship Chaos is well worth an hour or so of your time and some of your hard-earned; a continuation of the return to form for Finland’s heroes.




Rammstein – In Amerika

Rammstein in amerika

Rammstein fans have reason to be optimistic. Frontman Till Lindemann confirmed this year that they have started work on a new album (anticipated to arrive in 2017) which will no doubt prompt a world tour. I’m already exited by the prospect.

In the meantime, you can whet your appetite with In Amerika (Spinefarm Records), a concert film of their triumphant 2010 show in Madison Square Garden and features two extras – a 21-minute short showing the making of Liebe Ist Für Alle Da and the star of the show: Rammstein In Amerika – a 2-hour rockumentary chronicling the career of this famously private band.

Following the a well-established rockumentary formula, the most surprising thing about it is its duration. It genuinely doesn’t feel like 2 hours and never once gets boring. This suggests some serious skill on the part of the director, and quick check on IMDB shows that Austrian Hannes Rossacher is an old hand at documentary and working with bands. Indeed, he has worked with Rammstein before (in 2003, on Lichspielhaus – a collection of videos, gig footage, featurettes & TV ads) and deftly delivers a story that’s true to the band’s culture and endearing in its portrayal.

The story starts with the band members in East Berlin, covers their meeting and formation of the band that was to become the Rammstein that has remained unchanged (in terms of members) since 1994 and takes us through the apprenticeship of their early German shows and the release of Herzleid.

The origin story, however, (this is “In Amerika” after all) is treated as preamble. The film’s meat begins with the recording of Sensucht and the band’s first US tour in 1997 with fellow Germans KMFDM, follows their journeyman phase, explains their 10-year absence from the Land of The Free and culminates with their masterful return where they sold out The Garden in less than 30 minutes of pre-sale.


The outstanding quality of the engaging film-making provides extra colour and depth to the band for existing fans and serves to expose some of the cerebral and emotional qualities of Rammstein that’s hidden from those less familiar behind the shock-rock stories and stage hype. It’s not all about the pyromania.

Wisely avoiding overuse of purpose-shot band footage, Rossacher relies heavily on the band’s own archive footage and interviews from an array of well-known (and not so well-known) faces. This serves to keep the piece grounded and prevents it from becoming the self-parodying fluff that many music DVDs become. Excellent.

In Amerika is available on DVD or Blu-Ray and has the following tracks:

Disc 1 – Madison Square Garden

01 Rammlied

02 Bückstabü

03 Waidmanns Heil

04 Keine Lust

05 Weisses Fleisch

06 Feuer Frei!

07 Wiener Blut

08 Frühling in Paris

09 Ich tu Dir weh

10 Du riechst so gut

11 Benzin

12 Links 2 3 4

13 Du hast

14 Pussy

15 Sonne

16 Haifisch

17 Ich will

18 Engel


Disc 2 – Documentary

01 Rammstein In Amerika

02 Making of Liebe Ist Für Alle Da