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[new-junk]

LIVE: Canvas + Empires Fade + Dead Harts + The Colour Line @ Boston Music Rooms, 03/02/2013

Review by: Wil Collins

 It's not only beneficial to the underground metal scene in the UK, but underground scenes all over, that shows similar to tonight's have become more and more in demand. Bands striving for bigger things and more seasoned, experienced bands on the same bill, allowing a bit of exposure on both sides of the fence can only be seen as a good thing. However, in London, Sunday's seem to be everyone's day off from being a devout metalhead. A bit of bad weather and London transport can create a world of difference it turns out.

 After a catalogue of pretty forgettable opening acts, bar the excellently frenetic spaz-metal-come-mathcore from Hull five piece The Colour Line, Dead Harts enter the stage earlier than expected, due to problems with travel, to close their recent EU/UK tour. Having had the meagre crowd in attendance woken up by previously mentioned The Colour Line's set, which included monitors being kicked off stages and front man Sam Rudderforth coming close to bringing down a lighting rig after using it as a climbing frame, the band start a little slow. These cobwebs are soon shook off as they virtually erupt into dissonant and unhinged metallic hardcore fury. Despite the soundman shitting over any hope of actually getting a grip on how well they're set is played musically, the unrelenting crowd participation along with the presence and humility of the band is truly captivating. Couples of hairy men sway each other side to side across the floor space in front of the group as standout tracks Nosebleed and recent single All Washed Up produce the closest thing to a shit storm you're going to see with a crowd so small.

 Having done a great measure of stepping up since enlisting former The Eyes Of A Traitor vocalist, Jack Delany, the Empires Fade troupe are pretty much hampered from the get-go by the increasingly bad sound at the venue. Where the pristine melodies in their music should shine they are drained of all impact, the breakdowns just sound like shit being thrown at a wall by an angry monkey and it's all such a shame. I'd like to point out this is by no means a reflection of the band, as they give their best efforts and frontman Jack provides a great deal gusto in his vocals as well as providing amusement in between songs at some of the crowds expense. Sometimes you can only work with what you've got and, unfortunately, they just didn't have much to work with.

 Having reluctantly taken the headline slot for the night, Canvas take to the stage. In the two songs I could bear to listen to over a sound system that was muddier than most of the African continents water supply, they show a maturity and professionalism most band's so young do not have in taking what they can from a pretty abysmal scenario.

 As I stated as the start of this review, the promoters and bands like those involved in this bill tonight are all part of creating great opportunities for audiences to see their favourite local bands with their favourite bigger acts. Sometimes, it just doesn't pan out the way it should but in this case, a sound man intent on causing aural GBH towards all those in the venue, marred this one horridly.

[new-junk]

LIVE: The Elijah @ Underworld, Camden 16/11/12

Review by: Wil Collins.

Photos by: Will Jessel.

 Support in the form of Black Shapes and Hello Mexico is greeted with warm reception but ultimately, their sets both feel like time killers leading up to the real spectacle. In no way are either band poorly received, nor do they put in bad performances by any means.

 Black Shapes kick up a racket comparable to The Chariot but with added UK grit not too dissimilar to early Gallows. With desperate yells, ominous build ups and furious dissonance, it's easy to see the attraction to their live show. What's striking about their playing, however, is the extremely cut throat approach to their metallic sound which is void of all gimmickry; they literally just plug in and play fearlessly aggressive old school metallic hardcore.  At the other end of the musical spectrum and sharing the more experimental element of the headliners' sonic territory are Hello Mexico. After a brief struggle with technical difficulties, they started to get in the swing of things. Having their stage set up looking something like a living room, there's an air of intimacy and homeliness about the set they play. Drawing from post-rock vibes and more mainstream indie rock appeal, their sound bleeds Technicolor and positivity. It's a little like Straylight Run and Mumford and Sons fornicated and Hello Mexico was the result of said fornicating. An intriguing cover of Slipknot's Duality and crowd-band banter exhibits their confidence. Continuous thanks to the crowd from frontman, Myles Pereira, for watching his band in spite of the fact they're largely waiting it out for The Elijah's set, the band are humble and actually win over a fair few members of the crowd with their likeability.  To reiterate my earlier point, The Elijah aren't only one of the hardest working bands the UK has to boast from its ever growing flock of talent, they are among some of the most consistently good bands also. With 2010's well received EP release A Son: A Disease, the band have gone from strength to strength, touring and hitting stages regularly whilst creating new and exciting D.I.Y ways to appeal to their ever growing crowd, the most interesting being "Make Your Own Merch" and a short documentary into their band.  The release of debut album I Loved, I Hated, I Destroyed, I Created was gigantic in sonic stature and saw the band capitalise on their potential to be one of the most exciting acts outside of the mainstream formula of post-rock and hardcore. It feels as if all their work has led up to what unfolded as they hit the stage of Camden's Underworld to play the album in full with a string quartet.  For a quartet, the enormity that is brought to the bands live sound, as the opening track In Misery resonated through the room, is not only a pleasure to listen to but truly a sight to behold. With their usual aesthetic of minimalistic lighting, bar their haunting projections of landscapes and common life, it feels as if everything's come full circle thanks to the visual depth marrying so beautifully with the sorrowful poignancy that their music creates.  Hands reached for the skies and lungs were evacuated of all oxygen as The Underworld sang along, revelling in the almost cult-like response between band and fans, the audience were totally absorbed by the performance. A weighty, bleak performance of I Hated echoes and bears the heaviest atmosphere as the drums and vocals rebound off the walls, before the climax soars and juxtaposes the burden earlier felt beautifully.  With the highlight performance being instrumental In Regret's transition into I Destroyed, the whole venue became overcome by intensity from the grandiosity of the band. I Destroyed, the first single taken from the album, generates mass vocal response and the climax is nothing short of exquisite.  Where earlier cut I Hated exposed the heftier emotional side, it's closer I Created that is the most captivating as it showcases the fragility of The Elijah's unique sound along with raw emotion that is matched by few. As the crowd and vocalist Dan Tomley bark the last lines of I Created, "Heaven's not a place you go when you die, it's a place you live when you're in love and live. I was there but I walked away", the band depart and the room pauses breathlessly and in stunned awe before calling for an encore. The band, however, end it on a sweet note and thank those who just witnessed possibly one of the best sets of the year.

[new-junk]

REVIEW: Basement - Colourmeinkindness

Review by: Wil Collins.

 Earlier this year, emo revivalists Basement decided to call an indefinite hiatus on their short but sweet career, but not before dropping a new album and playing a string of dates in America and two farewell shows in the UK. 

 Take into account the upcoming album is the last material we'll be hearing from the quintet for a long time and the follow up to acclaimed debut I Wish I Could Stay Here, Colourmeinkindness has a lot resting on its shoulders. Apparently that's not what Basement thought. 

The first thing that comes to mind as opener Whole erupts is this is a band with confidence in abundance. Whilst their debut clung onto early emo roots and melded it in with fast to the point punk, Colourmeinkindness is an entirely different beast. This time round the band has welcomed a more 90's alt-rock and grunge feel whilst retaining what every fan loved about their sound on the first full length.

 The familiar punchy riffs and subtle melodies are littered throughout, creating an irresistible charm for the listener. Every song is filled with hooks and golden moments that separate Basement from their contemporaries. Strong examples of these golden moments are Covet's beautifully grunge-like trudge along and the silky saccharine vocal harmonies à la Nirvana 'Unplugged' present in the ending of Bad Apple.

 The songwriting on show suggests a maturity far beyond the members years, with sophisticated (if slightly repetitive) song structures and quiet-loud dynamics prominent the whole way through, which makes for a very cohesive and solid effort. 

 The lyrical content is also a shining point on this release, with Andrew Fisher's words reading like a conscious stream of heartfelt thought plucked from a diary. Lines such as, "I don't love you, I just need to be loved" and "When I'm with you, I don't want to be with you" from Pine and previously mentioned Covet, coupled with Fisher's emotive delivery pack a weighty punch. Above all else sonically though, James Fisher's drumming is exceptional throughout. The energy and enormity of the album is in no small part thanks to the drive his drumming gives underneath the raucous guitars and rumbling bass. It's been a long time since an alternative band has been able to blend angst with pop sensibilities so well without resorting to cliché's.

 What Basement have done with Colourmeinkindness is not only produce one of the best albums of the year, but actually refreshed and bought a bit of sophistication to a very tired genre. It's bittersweet that they're leaving so early on in their career, but two albums and an EP since Basement formed and they have created a modern masterpiece. If I were you, I'd buy and savour this gem of an album and go to their last shows and soak up the experience, because there's not going to be an album quite like this or a band quite like them for a little while.

 Basement's farewell/Colourmeinkindness release shows are:

November 16th -- Leeds @ The Well November 17th -- London @ The Underworld