Post by markwj on Jan 7, 2010 1:18:40 GMT
Nile, Krisiun, Grave
Wulfrun Hall, Wolverhampton
16/12/09
Time to get my xmas presents to self sorted and tick some bands off the shopping list with a mind expanding double-header at the Wulfrun. Nile had been in full flow with their Egyptology inspired technical death metal since the mid ‘90’s and though I’d first heard them on John Peel around then had not had the opportunity to see them live, though reports were that given the complexity of what they do shows could be very hit and miss if a bad sound mix turned everything to mud.
Wolves is about2 hours from home, via Wrexham to pick up He Who Fitteth the Windows of the Pyramid (Ell), and found somewhere to park up on the street as the car park adjacent to the venue seems always to be full. Entering we find a good turn out though the big hall is nowhere near full, evidently limiting the uk part of their euro tour to here and London has at least gathered the hordes in one location
Discover Grave are actually up and rotting on stage already, the two first new blood death bands Hackneyed and Ulcerate having evidently flown through their bought on 20 minute slots to start. The Swedes Grave are proudly old school, contemporaries to Entombed but again I’d never caught them before (think they may have been split up for some time in the middle). Though not as complex as their compatriots they share the filthy, mid-tone-ripped out, “Sunlight Studios” sound which is great to hear, the balance is drawn between the fact that they haven’t strayed far from the derivative but then they do effectively deliver at that level. Closing with what else but “Into the grave” I think it’s safe to say we are.
Didn’t know much Krisiun before but the Brazilian three piece swiftly struck home with their upped tempo and up to date take on death metal. Hard hitting staccato riffs maybe included a bit of a nod to more openly accessible styles of the likes of Sepultura or Pantera but it was only tangents to a core of the fast and gruff. It was impressive how strong they sounded with the pared down line-up but a factor in this was the guitarist limited the frequency and length of his lead breaks so there wasn’t much drop out in the power. The singer/bassist was very enthusiastic and appreciative and rewarded with some pit action, a pleasing find all round really
The headliners entered to the expected sampled grand ritual atmospherics, they are held in something approaching god-like respect for the level of their technicality. The fact that this far outweighs the fact that they are never going to win any beauty contests is testament to the appreciation of music at the core of this scene, and there can be no complaints about the sound level as its is satisfyingly at the top threshold of pummelling pain.. They obviously air tracks from their new “Those Whom The Gods Detest” album that I’ve yet to hear but there is a consistency across the set that is fantastic to behold. Passages of crushing heaviness intersperse the blistering speed, though it is interesting to observe that the guitarists are afforded partial breaks from their RSI inducing (literally) double picking as the relentlessly insane drumming output of George Kollias underpins all. (Instructional DVD’s on intensity are available on the merch). Deep and deeper vocal rumblings, they are good humoured in their delivery and seem to be thoroughly enjoying the response to their show. Main man Karl Sanders raising his chubby arms in frequent salute, though frontman Dallas does a good surly The Shining-era Jack Nicholson. Serious about their subject but it can’t help but raise somewhat of a smile when they introduce in full “Papyrus Containing the Spell to Preserve Its Possessor Against Attacks from He Who Is in the Water” or the chanted chorus of “Annoint My Phallus”. There’s a unexpected break in one of the new tracks when the power is blown somehow, frustrating on stage and off but then there’s plenty to pick things up from that point. Except, guttingly, when they save a couple of their best songs for a climatic finale, “Lashed to the Slave Stick” and “ Cast down theHeretic”, and both end after about a minute as all fails once more. The time spent in fixing means they are skipped but at least we do get one entire last track to end on a relative high. Worthy of their status in my judgement, those who shred most viciously would be a welcome addition to my forthcoming summer holidays in France.
Wulfrun Hall, Wolverhampton
16/12/09
Time to get my xmas presents to self sorted and tick some bands off the shopping list with a mind expanding double-header at the Wulfrun. Nile had been in full flow with their Egyptology inspired technical death metal since the mid ‘90’s and though I’d first heard them on John Peel around then had not had the opportunity to see them live, though reports were that given the complexity of what they do shows could be very hit and miss if a bad sound mix turned everything to mud.
Wolves is about2 hours from home, via Wrexham to pick up He Who Fitteth the Windows of the Pyramid (Ell), and found somewhere to park up on the street as the car park adjacent to the venue seems always to be full. Entering we find a good turn out though the big hall is nowhere near full, evidently limiting the uk part of their euro tour to here and London has at least gathered the hordes in one location
Discover Grave are actually up and rotting on stage already, the two first new blood death bands Hackneyed and Ulcerate having evidently flown through their bought on 20 minute slots to start. The Swedes Grave are proudly old school, contemporaries to Entombed but again I’d never caught them before (think they may have been split up for some time in the middle). Though not as complex as their compatriots they share the filthy, mid-tone-ripped out, “Sunlight Studios” sound which is great to hear, the balance is drawn between the fact that they haven’t strayed far from the derivative but then they do effectively deliver at that level. Closing with what else but “Into the grave” I think it’s safe to say we are.
Didn’t know much Krisiun before but the Brazilian three piece swiftly struck home with their upped tempo and up to date take on death metal. Hard hitting staccato riffs maybe included a bit of a nod to more openly accessible styles of the likes of Sepultura or Pantera but it was only tangents to a core of the fast and gruff. It was impressive how strong they sounded with the pared down line-up but a factor in this was the guitarist limited the frequency and length of his lead breaks so there wasn’t much drop out in the power. The singer/bassist was very enthusiastic and appreciative and rewarded with some pit action, a pleasing find all round really
The headliners entered to the expected sampled grand ritual atmospherics, they are held in something approaching god-like respect for the level of their technicality. The fact that this far outweighs the fact that they are never going to win any beauty contests is testament to the appreciation of music at the core of this scene, and there can be no complaints about the sound level as its is satisfyingly at the top threshold of pummelling pain.. They obviously air tracks from their new “Those Whom The Gods Detest” album that I’ve yet to hear but there is a consistency across the set that is fantastic to behold. Passages of crushing heaviness intersperse the blistering speed, though it is interesting to observe that the guitarists are afforded partial breaks from their RSI inducing (literally) double picking as the relentlessly insane drumming output of George Kollias underpins all. (Instructional DVD’s on intensity are available on the merch). Deep and deeper vocal rumblings, they are good humoured in their delivery and seem to be thoroughly enjoying the response to their show. Main man Karl Sanders raising his chubby arms in frequent salute, though frontman Dallas does a good surly The Shining-era Jack Nicholson. Serious about their subject but it can’t help but raise somewhat of a smile when they introduce in full “Papyrus Containing the Spell to Preserve Its Possessor Against Attacks from He Who Is in the Water” or the chanted chorus of “Annoint My Phallus”. There’s a unexpected break in one of the new tracks when the power is blown somehow, frustrating on stage and off but then there’s plenty to pick things up from that point. Except, guttingly, when they save a couple of their best songs for a climatic finale, “Lashed to the Slave Stick” and “ Cast down theHeretic”, and both end after about a minute as all fails once more. The time spent in fixing means they are skipped but at least we do get one entire last track to end on a relative high. Worthy of their status in my judgement, those who shred most viciously would be a welcome addition to my forthcoming summer holidays in France.