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


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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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WORDS BY PHILIP PAGE

PHOTOS BY JESSICA LOTTI PHOTOGRAPHY

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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.

 

6.5/10

 

PHILIP PAGE